The Ring 2: Rebirth
by JackMcVee
Summary: Rachel Keller allows the cursed tape to get in the hands of an offbeat teenager. What seems like a typical seven-day format follows... but Samara Morgan wants to do things differently this time.
1. Day 0: Beginning of the End

THE RING: REBIRTH  
  
Written by Jack McVee  
FADE IN  
  
INT. CHURCH - MIDNIGHT  
  
A stone marbel floor stretches out into forever, housed in with incredibly gothic architecure. Pews as far as the eye can see, yet somehow bounded by walls lined with several fantastic stain glass windows. Distant bells chime, accompanied by eerie, childlike chanting. Several doves are perched up on the rafters, silent and unmoving.  
  
Someone's lurking in the shadows, a 16 or 17 year old boy. This is ANDREW DARK, and like his name suggestions, his hair and eyes and gaze are rather dark, but his skin nearly glows in the sunlight. He's handsome, although not conventionally, and his young appearance betrays the aged, somewhat aloof person within.   
  
He marches through the darkened nooks of the large church, very tensely, as if braving for an attack at any angle, any second. Andrew looks over his shoulder cautiously, then back up at the very front of the church, where...  
  
AN ALTAR STANDS, a thousand candles lit all around it. Above this is a huge stainglass painting of the Virgin Mary, the soft glow of candles illuminate the painting.   
  
Andrew continues forward, his frow burrowing in confusion.  
  
ANDREW  
(to himself; softly)  
I know this place...  
  
CLOSE UP: His sneaker-clad feet as they walk along the parque floor. Within moments, Andrew steps into a wet, slushy, crimson-coloured substance.  
  
He looks down at the ground, a PUDDLE OF BLOOD is spreading rapidly, all over the floor, like some sort of virus. Andrew looks over and sees a dark figure hunched between pews.   
  
ANDREW'S POV: He approaches the figure, only to see that it's...  
  
...A DEAD HORSE. Slumped over like a ragdoll, puncture wounds all over it's rotting body. The skin of the horse's face has been TORN RIGHT OFF, leaving only the bare musculature. Flies swarm all over the dead animal, picking at it, fighting for food.  
  
Sufficiently freaked out, Andrew turns back to the altar, to see that a GIRL is standing there.   
  
ANDREW  
(startled)  
Hello?  
  
For a second, it appears as if this girl, with an old world white dress and long, greasy black hair, has her back turned to us. But Andrew quickly realizes she's facing him, watching him through her long locks of hair.  
  
ANDREW  
Are you lost...?   
  
FLASH CUT: The dead horse, as it's mouth widens.  
  
Andrew keeps walking towards the girl, his unease growing with every step.  
  
ANDREW  
I don't think you're supposed to   
be here...  
  
FLASH CUT: The dead horse's belly being torn open. A FETAL HORSE slips out with the intestinal tract and other organs.   
  
Andrew stops dead in his tracks, feeling his stomach lurch. The GIRL takes two steps forward, remaining mute. Andrew backs up; what the hell's going on?  
  
ANDREW  
(understanding now)  
I don't think *I'm* supposed to be  
here...  
  
He suddenly SHRIEKS OUT IN PAIN and drops to the floor.   
  
CLOSE UP: Andrew's forearms, as a dark, burnt LINE lurches up his arms, spreading around his body.   
  
ON THE GIRL, watching, studying him.  
  
CLOSE UP: The burnt lines reach up into Andrew's face. He SCREAMS and SCREAMS as they branch out... across his cheeks... into his mouth... into his eyes...  
  
As Andrew's face becomes increasingly greyish-greenish, we see quick, fancy cuts:  
  
-a finger being split by a nail  
-maggots squirming  
-a playground on fire  
-dark blood pouring into rushing water  
  
Andrew's face locks in a disturbing, terrified expression.  
BLACK OUT  
  
The familiar "ring" of light is made over the black screen.   
  
SMASH TO  
  
CLOSE UP: A closed eye. It looks rather peacefully for a moment or two, until it flutters open. As the morning light floods it, it closes once more.  
  
WIDER to reveal the eyes belong to a teenage boy. Andrew Dark.  
  
He lifts his head, recognizing his bedroom. After a couple of squints, Andrew suddenly tenses and rushes across his bed towards the ALARM CLOCK. Before he gets to it-  
  
A LOUD BLAST OF RADIO DJ TALK spurts from the alarm. Too late. Andrew sinks back into bed, groaning.  
  
RADIO DJ (V.O.)  
-police are still baffled as to what   
caused the sudden shift in panic.   
Officials from the Eola Institute   
say that increased employee concern  
cemented their decision-  
  
He slams his hand onto the snooze button, letting out a mighty yawn.  
  
CUT TO  
  
INT. KITCHEN - ANDREW'S HOME - MORNING  
  
Modest and well kept. Andrew comes in, dressed, backpack slung over his shoulder. He sets it down at the kitchen table and sees the small kitchen tv is on. His mother, DIANE DARK, a pretty, but stressed single mother, is watching the news.   
  
DIANE  
(eyes on the tv)  
Morning honey.  
  
ANDREW  
It's good to see you and tv are   
talking again.  
  
She smiles a little bit, turns around, and gives her son a kiss on the cheek.  
  
DIANE  
Your school's on the news.  
  
ANDREW  
Mmhm.   
(opens the fridge)  
Did you make any breakfast?  
  
DIANE  
Don't you wanna know why?  
  
Andrew moves toward a cupboard and takes out a box of cereal.   
  
ANDREW  
Not really.  
  
DIANE  
They're doing a sympathy piece on  
those poor kids who died a couple  
weeks back.  
(then)  
Did you know any of them?  
  
We hear a CAR HONKING outside.   
  
ANDREW  
Shit.  
  
DIANE  
That's your ride?  
  
ANDREW  
Yeah.   
  
He ditches his cereal and moves toward his backpack. Diane quickly hurries over to him and slips a five dollar bill in his hand.  
  
DIANE  
Get some breakfast at the mall.  
  
ANDREW  
Thanks.  
  
Andrew starts for the door when he sees his mom's suitcase and travel bags near the front door. He pauses, then frowns.  
  
ANDREW  
You're leaving today.  
  
DIANE  
I've only been reminding you  
for two weeks now.  
  
ANDREW  
You know me, mom, if you're not  
writing it on my hand, I'm not  
gonna remember.  
  
Diane brings a hand to her son's face and brushes away a strand of hair. She frowns.  
  
DIANE  
Did you colour your hair again?  
  
ANDREW  
Mom, stay focused.  
  
She moves more fingers through it.  
  
DIANE  
(one eyebrow raised)  
Some of it's blue, now? Oh, honey...  
  
ANDREW  
Where did I lose you on the "stay  
focused" thing?  
  
DIANE  
It'll only be for two weeks. And it's not   
like I'm going to China. It's Chicago.  
  
ANDREW  
Promise me you wont join any  
off-broadway musicals.  
  
DIANE  
I promise.  
  
There's a beat. She leans in and kisses her son again.  
  
DIANE  
I'll call everyday.   
  
ANDREW  
You don't have to.  
  
DIANE  
I want to.  
  
ANDREW  
I don't want you to.  
  
DIANE  
You don't?  
  
ANDREW  
It'd be creepy!  
  
DIANE  
Why?  
  
ANDREW  
Mom, there's no way in hell I'm  
gonna be throwing any parties or  
raves or whatever, so you don't  
have to check up on me. I'm  
mature and levelheaded and I  
know words like "contradistinction".  
  
DIANE  
It wouldn't be a check up. Just  
a friendly hello.  
  
ANDREW  
Creepy.  
  
DIANE  
Oh stop.  
  
ANDREW  
Every other day?  
  
DIANE  
Fine. Every other day.  
  
THE CAR HONKS AGAIN. Andrew starts growing restless.  
  
ANDREW  
I gotta go.  
  
DIANE  
Alright.  
  
They hug rather quickly, and Andrew's out the door. No "I love you"s are exchanged. Somberly, Diane watches him leave.  
  
CUT TO  
  
EXT. CAR - MOVING SHOT - MORNING  
  
A jet black convertible is being driven by ZELDA NORRIS, a 17 year old punk goth type, dressed heavily in black and made up like a demented clown. You know those types. One hand's on the wheel, the other holds a lit cigarette.  
  
Andrew is riding shotgun, and he's a lot more tense than we saw him with Diane.  
  
ANDREW  
I'm gonna die, Zelda. I can feel it.  
Like a... like a virus. I'm gonna die.  
  
ZELDA  
Shut up.  
  
ANDREW  
No, seriously!   
  
ZELDA  
No, shut up.  
  
ANDREW  
My urban legend column is due today   
and the only thing I have to write about   
is that god damn cursed video tape.  
  
ZELDA  
So write a whole column about that.  
Stop being a putz.  
  
She takes a drag.  
  
ANDREW  
Those things will kill you.  
  
ZELDA  
And would you stop with the death  
motif? You're not the goth, here.  
  
ANDREW  
Zelda, you only became a goth to  
impress that guy who listened to  
Slipknot and Kittie. And where is  
he now? Dating Miss "I Make   
Christina Aguilera look like a first  
class British debutante".  
  
Zelda PUNCHES him in the arm. He recoils.  
  
ZELDA  
Look, just interview some people that  
knew Josh Turandot.  
  
Andrew's face darkens somewhat.   
  
ANDREW  
It hasn't even been two weeks since-  
(pause)  
I think it'd be insensitive.   
  
ZELDA  
So make some shit up. It's an urban  
legend, not the Vietcam war.  
  
ANDREW  
Vietnam.  
  
ZELDA  
Whatever.  
  
His head suddenly hits his seat. He groans.  
  
ZELDA  
It's not that bad, man. Okay, so  
you miss a deadline for the Weekly  
Douchebag, so what? You're the  
best writer they have. No way  
they'll bag you.  
  
A beat.  
  
ANDREW  
You really think so?  
  
She smirks somewhat.  
  
ANDREW  
Thanks.  
  
Andrew looks back at her, somewhat pensive now.  
  
ANDREW  
So, have you talked to Logan?  
  
Zelda PUNCHES him in the arm again.  
  
ANDREW  
Christ, woman!  
  
ZELDA  
Logan's an asshole of the highest  
class.   
  
ANDREW  
I thought you two decided just to  
be friends?  
  
ZELDA  
Until he told the school I had my  
period on the night we were gonna  
do it.  
  
ANDREW  
TMI, Zelda.  
  
ZELDA  
'TMI'? What are you, a SoCal   
valley girl? He made that shit up,  
Andrew. I told you, he's an asshole.  
  
A SIREN blares from behind, scaring the shit out of them.  
  
ZELDA  
What the hell?  
  
It's a POLICE CRUISER.   
  
ZELDA  
I forgot my license!  
  
ANDREW  
Wait...  
  
The cruiser passes them and heads off in front. Zelda lets out a relieved sigh, slumping back in her seat. Andrew stars playing a CIRCULAR car refreshener hanging from the rearview mirror.  
  
ANDREW  
And what kind of prospective  
medical student forgets their  
license?  
  
ZELDA  
Prospective's pushing it, bud.  
With the grades I'm getting...  
  
ANDREW  
You're doing fine.  
  
ZELDA  
Not spelling your name correctly  
on a calculus test you FAILED  
can not be construed as doing  
fine.  
  
ANDREW  
I've offered to help you study  
countless times.  
  
Zelda pulls up into the driveway of their high school.   
  
ANDREW  
And we graduate next year. We  
still have time.   
  
She parks and turns the ignition off, and then flicks her burnt out cigarette away.  
  
ZELDA  
I'll be fine, alright? I don't need  
anyone's help.   
  
Zelda pushes open her door and steps out. Andrew follows suit, somewhat miffed.  
  
CUT TO  
  
EXT. REVERE HIGH SCHOOL - MORNING - CONTD  
  
A sprawling set of buildings, expansive and ivy-covered. One could mistake it as a University. And despite its homey, warm appearance, there's just something about it that looks menacing and strange.   
  
Zelda and Andrew walk through the students milling around. They look out of place amongst all the midriff baring girls and bling-bling flashing guys. Andrew leads her over to a newstand, and picks up a copy of THE WEEKLY INFORMER, Revere's weekly student-run newspaper.  
  
ANDREW  
(glancing over)  
Hey, the memorial service is  
tomorrow.  
(looks at Zelda)  
Did you wanna go?  
  
ZELDA  
Do I look like I wanna go?  
  
He stares at her.  
  
ANDREW  
Well... you look like that all the time.  
  
She's about to punch him again, but he sidesteps and crosses over to her other side.  
  
ANDREW  
Isn't it a little surreal, though? Josh,  
Terry, Brandon... and that other   
girl, what was her name?  
  
They walk up towards the front doors.  
  
ZELDA  
Katie, I think. She went to L'Amoreux  
with Becca.  
  
ANDREW  
Yeah. How's it possible they all died  
at the same time?   
  
ZELDA  
Some students are saying it was   
a timed grouped suicide.  
  
Andrew throws her a sour look.  
  
ZELDA  
Hey, don't shoot the messenger.  
You should hear the "overdosed  
on estrogen" theory...  
  
She continues on ahead, and Andrew stays behind.   
  
HIS POV: Looking around the schoolyear, seeing some students play hackey sack, some sitting and chatting, some doing last-minute homework. But they're all doing it in groups... with friends.   
  
Andrew turns back and walks toward the school, sighing quietly.   
  
CUT TO  
  
INT. COMPUTER LAB - HOURS LATER  
  
A huge room with rows upon rows of iMacs lined up for student usage. There are a sparse few here, one of them including ANDREW. He's sitting at the very back of the room, eyes glued on his screen.   
  
CLOSE UP: The screen. A word document has been opened... but it's blank.   
CLOSE UP: His fingers, perched over the keyboard, like owls watching their prey.  
  
Andrew sighs again, nothing's coming to him.   
  
ANDREW'S POV: Off the reflection of the screen, he sees an angry looking STUDENT barreling towards him.  
  
ANDREW  
Shit...  
  
The student marches right up to him. This is CRYSTAL, 18, head of the newspaper, and she looks Pissed (capital P intended).  
  
CRYSTAL  
Tell me what time it is, Dark.  
  
ANDREW  
(glances at his watch)  
Hi, Crystal.  
  
CRYSTAL  
WHAT TIME IS IT?  
  
CRYSTAL  
Erm... 2:13 pm.  
  
CRYSTAL  
(nodding furiously)  
Mmhm! And tell me, Dark, what time  
were you supposed to submit your  
column, today?   
  
ANDREW  
(sheepishly)  
9 am?  
  
CRYSTAL  
(pointing pointedly)  
ON THE DOT, ANDREW! We had an  
agreement! You submit your god damn  
columns to me ON THE DOT.   
  
She puts her hands on her hips and thrusts her head foreward every time she wants to emphasize a word (the capitalized words, that is). It makes her look like a chicken.  
  
CRYSTAL  
I TOLD you, I TOLD you, I TOLD you.  
Everyone ELSE submitted their stuff!  
What makes YOU think that YOU had  
immunity to this rule? Hmm? HMM?  
  
Andrew's trying to look as serious as possible, but it's obvious he's stifling back laughter. He shrugs uselessly.  
  
CRYSTAL  
You're suspended from the Weekly  
Informer for the week, Mr. Dark.  
You'll hand in your column next week.  
Is that understood?  
  
ANDREW  
Yes. Clear as crys...  
  
He stops there. Crystal glares at him again and scurries away. Sighing yet again, Andrew turns back to the blank screen... and gets an idea.   
  
CLOSE UP: The screen. Words are typed furiously onto it.  
  
"You will die in seven days." Or so the legend says...  
  
Smiling contently at his first line, he saves it disk, takes it out, and heads off.  
  
FADE TO  
  
EXT. BLOCKBUSTER VIDEO - LATER   
  
A little after school has ended. Seattle weather has cruelly kicked in, and it's raining. ANDREW appears walking down the street, backpack slung over his shoulder, clutching an umbrella. He heads inside.   
  
INT. BLOCKBUSTER VIDEO - CON'TD  
  
This particular Blockbuster conspicuously looks like the one featured in the alternate ending of the first movie (...).   
  
Andrew steps inside, closing his umbrella. He turns to a clerk, working the counter, whom he knows on a first name basis.  
  
ANDREW  
Hey Max.  
  
MAX, a 30something, tired looking guy, gives him a faint nod. He's on the phone.  
  
MAX  
(into phone)  
Honey, I swear to God, that wasn't  
me in those videos. That could've  
been anyone's ass!  
  
The CAMERA follows Andrew as he leisurely walks through rows of videos and DVDs.   
  
CLOSE UP: A pan across the comedy section, following Andrew's legs. He stops, picks up some random title, gives it a little look-over. Upon hearing the chatter of fellow teenagers, he looks up.  
  
A group of of people his age, a couple of girls and guys, are standing at the "New Releases" section.  
  
GIRL #1  
I don't want that one! Look at the  
freaking cover.  
  
BOY #1  
Since when do you not like scantily  
clad ladies?   
  
GIRL #1  
Ew, you wish.  
  
BOY #1  
Yes, I wish.  
  
Girl #2 picks up another title.  
  
GIRL #2  
What about this one?   
  
BOY #2  
Nah, that one's too gay.  
  
GIRL #2  
Would you prefer a bi-curious   
videotape instead?  
  
BOY #2  
Why are you being such a bitch?  
  
Girl #2 starts attacking Boy #2, who shrieks in response, but it's all friendly.  
  
ANDREW (O.S.)  
Actually, I heard the sequel of that  
one's better.  
  
They all stop what they're doing, and turn to him.  
  
ANDREW  
I mean, if you're having trouble  
deciding... I'd... I'd go with the   
sequel.  
  
Their glares never fade.  
  
GIRL #1  
Um, do you work here?  
  
ANDREW  
Well, no, but-  
  
GIRL #1  
Then leave us alone. Christ.  
  
They turn back to their discussion. Andrew watches somberly.  
  
BOY #2 (O.S.)  
I told you, that one's too gay!  
  
His face reddening, Andrew turns back and hides himself in the FOREIGN FILM aisle.   
  
ON THE COUNTER, in which Max is still on the phone.  
  
MAX  
Honey, don't hang up. Please - honey!  
Those girls didn't matter! Okay? I-I...  
I felt dirty. THEY were dirty. Literally.  
Like, I don't think they took baths...  
  
ON ANDREW, browsing quickly through various foreign film titles, more interested in calming himself down than watching anything from Spain or Germany.  
  
WOMAN (O.S.)  
This is the one you're looking for.  
  
Startled, he turns to see a woman standing next to him. Long blonde hair, penetrating blue eyes and a nice smile. Early 30s and very pretty. It's RACHEL KELLER.   
  
ANDREW  
Excuse me?  
  
She smiles at him, holding up a video.  
  
RACHEL  
Anyone interested in foreign cinema  
HAS to see this movie...  
  
CLOSE UP: The video she's holding. It's a copy of "The Eye".   
  
RACHEL  
You like horror movies, don't you?  
  
ANDREW  
Very much so, yes.  
  
RACHEL  
Then here!   
  
Rachel practically shows the video into his hands. He looks it over warily.  
  
ANDREW  
I don't know Japanese.  
  
RACHEL  
No worries, there are subtitles.   
  
He turns his weary eyes over to Rachel. Who IS this woman?  
  
ANDREW  
Well... it doesn't look bad... I guess...  
  
RACHEL  
(persuasively)  
It's about an evil eye.  
  
ANDREW  
(smiles thinly)  
I gathered. But... I think I'll take the  
DVD instead.  
  
Andrew's free hand lurches for The Eye DVD sitting peacefully on a counter across from them. Rachel dashes over to intercept, her whole body suddenly rigid with fear.  
  
RACHEL  
No!  
  
ANDREW  
No?  
  
RACHEL  
The video's so much better.   
  
ANDREW  
How's that?  
  
She can't really think of a reason. Rachel leans in closer.  
  
RACHEL  
Look, I'll be honest with you, kid.   
(lower, conspiratorially)  
I know things.  
  
ANDREW  
What things?  
  
RACHEL  
Sony's got sweatshops and acid  
mines all over Asia, and everytime  
somebody buys or rents a DVD,   
which they have royalities on,  
you just hired another child laborer.  
  
ANDREW  
(horrified)  
Oh my god.  
  
RACHEL  
I know. It's terrible.  
  
ANDREW  
(still frowning)  
I'll rent the videotape, then.  
  
RACHEL  
Good choice.   
  
ANDREW  
Thank you.  
  
RACHEL  
Don't mention it.  
  
They smile at one another, and he heads off for the counter. The mirth from Rachel's face gradually drains. She turns around and sees her son, AIDAN, standing at the end of the aisle. He stares at his mother. We can't tell if he's pissed off or just really sad.  
  
RACHEL  
(moving to him)  
Honey, I...  
  
Aidan coldly turns away, walking briskly towards the Children's aisle. Rachel wraps her arms around herself, her heart thumping in her throat. She looks over to the front of the store and watches Andrew approach Max.  
  
AT THE FRONT OF THE STORE  
  
Andrew puts The Eye videotape on the counter. He watches Max with peculiar fascination.  
  
MAX  
Don't hang up! Don't hang up! Don't  
hang...  
(he slams the phone down)  
YOU BITCH!  
  
Everybody in the store immediately looks up at him.  
  
MAX  
Oh, no, I wasn't talking to this   
customer. That was my girlfriend.  
  
They stare at him harder. He mutters something under his breath, takes the tape.  
  
ANDREW  
(sympathetically)  
Trouble in paradise again?  
  
MAX  
You know it. Phone number please.  
  
ANDREW  
Max. It's me.  
  
MAX  
Right.   
  
He hands Max his Blockbuster card and turns to look back through the store. He matches Rachel's gaze, who immediately turns away. Andrew frowns.  
  
ON MAX, too shaky and angry from the fight to notice, as he slips a receipt into the videocase, that the video is UNMARKED and obviously a recordable tape. He puts it into a bag, hands it to Andrew.  
  
MAX  
(very droll)  
Have a nice day.  
  
ANDREW  
Say it like you mean it.  
  
There's no response, only a look that could cut through stone.  
  
ANDREW  
Seeya in three days.  
  
He's about to leave, but Max suddenly cuts in-  
  
MAX  
(ominously)  
You don't have enough time.  
  
ANDREW  
(startled)  
What?  
  
MAX  
That's due back tomorrow.  
  
ANDREW  
It's a shame you're not the manager.   
  
MAX  
It's a shame you're still here.  
  
ANDREW  
Funny.  
  
MAX  
(with a monotone)  
I'm a funny guy.  
  
CUT TO  
  
EXT. BLOCKBUSTER - STREETS - CONTD  
  
It's still raining, and maybe even harder than before. Andrew opens up his umbrella and runs across the street as soon as it's empty. He walks for a couple of moments, and realises there's someone standing in front of him.   
  
It's LOGAN REDFIELD, an 18 year old, All-American jock. Athletic and often dumb, but there's just something about him that sets him apart from others in his clique. He doesn't have an umbrella, so his perfect hair is getting soaked.  
  
They stare at each other for what seems like hours.  
  
LOGAN  
Hey.  
  
ANDREW  
Hi.   
  
Awkward beat.  
  
ANDREW  
Are you, um, going home?  
  
LOGAN  
I was thinking of dropping by a  
strip club first.  
  
ANDREW  
Don't let me stand in your way.  
  
Logan's mouth curls and it almost looks like he's smiling.  
  
LOGAN  
Yeah, I'm going home.   
  
ANDREW  
Here.  
  
He hands Logan the umbrella, and then puts on a hood from the back of his jacket.  
  
ANDREW  
Give it to me tomorrow at school.   
  
Andrew starts heading away, but Logan stops him.  
  
LOGAN  
No, man, I don't have to. We live on  
the same street.   
  
ANDREW  
Oh, do we?  
  
The look on his face clearly tells he already knows. Logan gestures.  
  
LOGAN  
We could walk home together.  
  
Andrew tries hard to act aloof.  
  
ANDREW  
Yeah, okay, whatever.  
  
He takes off his hood, and they share the umbrella as they walk.   
  
CUT TO  
  
EXT. RESIDENTIAL NEIGHBORHOOD - A LITTLE LATER  
  
Your typical suburban nightmare. Rows of two story homes stretch out as far as the eye can see. Andrew and Logan are walking through, chatting. The rain has lightened up and only falls down in a tiny shower, now, so the umbrella has been put away.  
  
LOGAN  
So how you enjoying your job at  
The Weekly Douchebag?  
  
ANDREW  
Informer. Why does everyone call it  
that?  
  
LOGAN  
Beats me.   
  
ANDREW  
It's going fine... except not really with  
the fine part.  
  
LOGAN  
I'll give you a couple of moments to  
finetune your English.   
  
Andrew gives Logan a friendly shove.   
  
ANDREW  
I missed the deadline this week.  
  
LOGAN  
What are you writing about?  
  
ANDREW  
You know that rumour going around  
Revere? About how Josh and them  
were killed by a videotape?  
  
LOGAN  
That?  
(Andrew nods)  
Heavy duty stuff, dude.   
  
ANDREW  
Do you know anything about it, by  
the way? Anything at all?  
  
LOGAN  
No... but I know that they found  
some chick's body in a well. Some  
are saying it has to do with the tape.  
  
ANDREW  
Hm?  
  
LOGAN  
At Shelter Mountain Inn, where Josh  
and Katie went a couple of weekends  
ago. Supposedly some reporter found  
this well underneath the cabin they  
stayed at...  
  
Andrew makes a face.  
  
LOGAN  
What?  
  
ANDREW  
No, go on.  
  
LOGAN  
And, yeah... in the well there was a  
body of a girl who died 20 years ago.  
Or... was that 23? 24... I forget.  
(pause)  
It's freaky shit. Sure you can do it?  
  
ANDREW  
Nothing I can't handle.  
  
Logan gives a tiny laugh.  
  
ANDREW  
What?  
  
LOGAN  
No, I agree. There's nothing you can't  
handle. I mean, remember in Grade 6?  
You did that exposé on the janitor's  
drinking problem.   
  
ANDREW  
(chuckles)  
Yeah man! I got in so much shit for  
that.   
(somewhat incredulously)  
I can't believe you remembered.  
  
Logan stops. Andrew does, too.  
  
LOGAN  
What makes you say that?  
  
ANDREW  
I just meant that... you know... you've  
been busy with your own friends... and  
we haven't really-  
  
A CAR HONKS suddenly. They both JUMP. A jeep has stopped in the street in front of them, filled with several JOCKS and CHEERLEADERS. We recognize some of them from Blockbuster. Andrew's face noticeably drains in colour.   
  
The driver, MARK, calls out.  
  
MARK  
Yo, Logan! We were just at your house,  
you weren't there!  
  
LOGAN  
You caught me.  
  
MARK  
We rented Boogie Nights, man!   
  
A huge smile appears on Logan's face.  
  
LOGAN  
(praising him)  
Dawg!  
  
ANDREW  
(very quietly)  
I'll, uh, see you, then...  
  
Andrew walks ahead quickly toward his house. Logan stops and looks after him, for one tiny moment, then moves to the jeep.   
  
FADE TO  
  
INT. ANDREW'S HOUSE - LIVING ROOM - LATER  
  
A home that once seemed warm and inviting now appears startling cold and depressing.   
  
ANGLE: There are potted plants all over the room. There's even two green, leafy ferns sitting ontop of the entertainment center which houses the tv.  
  
The blue screen of the television set is the only source of light in the room. It casts an eerie glow on...  
  
...Andrew is sitting in front of his tv, underneath it is a DVD/VCR combo. He picks up The Eye video, observes it for a second, and then takes the tape out of the casing.  
  
CLOSE UP: The tape. Like we saw before at Blockbuster, it's unmarked and labelless. Andrew stares down at it curiously.   
  
ANGLE: The bay window. Moonlight filters in hauntingly, casting shadows of the potted plants all over the opposite wall.   
  
Andrew takes a deep breath and pushes the tape into his VCR. His finger pauses over the play button.  
  
MAX (V.O.)  
You don't have enough time...  
  
After another pause, he finally presses play.  
  
ON THE TV:  
  
Blackness. A pause. A stutter. Several frames pass by before we see...  
  
-the ring, hollowed out and circling with glowing light  
  
A terrifying humming noise emits from the tv's speakers. It almost sounds like a little girl is singing.  
  
-dark red blood flowing into rushing water  
  
-a nail, with a finger hauntingly poised over it  
  
-a chair sitting serenly, then a ladder leaning against a wall  
  
The humming noise loudens, crackling, as if the sound itself is bursting into flames.  
  
-a tree, with bare, dead branches is framed in front of a playground, which contains several WRITHING CHILDREN screaming, being burnt to death  
  
ON ANDREW, cringing, the images seem to be physically hurting him.  
  
ON THE TV:  
  
-a woman brushing her hair in front of a mirror, after a quick edit, another mirror appears, this one with the image of the long, dark haired girl  
  
-a serene, windswept cliff. a fly climbs over the screen  
  
-a finger being split by a nail  
  
ON ANDREW, he grunts in pain quietly. His nose begins to BLEED.  
  
ON THE TV:   
  
-the infamous image of maggots which transforms into hundreds of people drowning  
  
-the once serene chair, now upside down and spinning angrily  
  
-several horses lie dead on a shore. one horse's stomach has been split open, and a fetal horse has been dragged out of it.   
  
Andrew's had enough. He rushes over to the VCR and hits the power button a little harder than he normally would. BLOOD is pouring out of his right nostril in a disturbingly fast manner. He brings his hand to his nose and wipes some away.  
  
INT. BATHROOM - MOMENTS LATER  
  
CLOSE UP: in the sink basin, staring down at the circular water drain. Clear water pours down into it. Seconds later, blood dribbles down into the sink basin.  
  
FLASH CUT: An image from the video, dark red blood flowing into rushing water.  
  
Andrew looks up at his reflection to see his nosebleed has stopped, but the blood is still on his face and arms. He scrubs at his arms first, furiously, and then splashes water onto his face.   
  
He turns off the tap, heart pounding against his chest. Andrew looks at his reflection, and is startled to see...  
  
THE LITTLE GIRL.   
  
Oh, who am I kidding, we all know her name: SAMARA. She lifts up her head full of long greasy hair. Andrew stifles back a scream and forces himself away from the mirror, slamming into the wall behind him.   
  
ON THE MIRROR: normal again. It's just Andrew, and he looks like he's gonna cry. The bathroom fills with the sound of his shrill, rapid breathing.  
  
INT. LIVING ROOM - CONTD  
  
Andrew staggers inside, physically weakened. His eyes lock onto the tv, which is blaring that familiar snowy static.  
  
ANGLE: The two ferns sitting above the tv are now BLACK, ROTTING, AND DEAD.  
  
SMASH TO  
  
INT. REVERE HIGH LIBRARY - THE NEXT DAY  
  
Tall bookcases cast huge shadows all over the large, echo-y room. In the center of the library is a smattering of small, round tables. Students are scattered about.  
  
KELLEN, a dark featured 18 year old boy, (who, in the first film, was the teenage boy who told Rachel that Josh died the same night as Katie) is sitting at a table alone. He's casually leafing through a magazine called Video Watchdog.  
  
Andrew, in a very no-nonsense way, comes over, sits down, places his things on the seat next to him, and extracts a audiotape recorder. Kellen looks up, annoyed.  
  
KELLEN  
Can I help you?  
  
ANDREW  
That's what I'm here to find out. I  
need you tell me everything you know  
about the tape that killed Josh.  
  
KELLEN  
Maybe the concept of "social niceties"  
hasn't been fully embraced by you yet,  
but-  
  
ANDREW  
He was your friend, Kellen. I know he  
was.  
  
Kellen pauses, lets Andrew speak.  
  
ANDREW  
And right now, the only thing stopping  
me from making sense of his death is you.  
  
He very pointedly turns the audio recorder on, and sets it aside.  
  
ANDREW  
So please.  
(beat)  
Before Josh died. He must have told  
you something... mentioned something.  
  
KELLEN  
Only that Katie didn't put out.   
  
Andrew SLAMS his fist onto the table, alerting Kellen and everyone surrounding them.  
  
ANDREW  
You don't have to take this seriously,  
but I'm not going away until you do.  
  
Kellen almost glares at him.  
  
KELLEN  
Who the hell do you think you are?  
(pause)  
Who ARE you anyway?   
  
ANDREW  
That's not-  
  
KELLEN  
(disgusted)  
You're the one who hangs out with  
Zelda Norris.  
  
ANDREW  
(a little hurt)  
Kellen-  
  
He starts gathering up his things. Andrew stares at him, completely dumbfounded.  
  
KELLEN  
And no offense, but that Zelda  
chick kinda really skeeves me out.  
And didn't you hear that she  
purposefully waits for her period  
to have sex with guys?  
  
With strength that surprises even himself, Andrew grabs Kellen by the forearm and doesn't let go.  
  
ANDREW  
(dead serious)  
This tape kills you when you watch  
it. I saw it. But I'm not dead. Josh  
saw it, and right now he's six feet  
underground-  
  
KELLEN  
(giving in)  
Seven days.  
  
Beat. Andrew's grip losens a tiny bit.  
  
ANDREW  
I'm sorry?  
  
KELLEN  
Josh told me that after they watched  
the tape, they all got a phone call. A  
girl on the other end... I guess... knew  
they saw it, somehow. And she told  
them they had seven days to live.  
  
ANDREW  
(almost inaudible)  
And seven days later...  
  
He doesn't need anyone to finish the sentence for him.   
  
FADE TO  
  
INT. AUDIO VISUAL ROOM - REVERE HIGH SCHOOL - LATER  
  
A room the size of a big walk-in closet, practically packed in with lots of stereo equipment, tvs, vcrs, dvds, and other stuff that would make a/v geeks drool.   
  
Sammy, an aforementioned a/v geek, is giving Andrew a little tour/info session.  
  
SAMMY  
Our highest quality VCR is this guy  
here.   
  
ANDREW  
What brand is that?  
  
SAMMY  
Sony.  
  
ANDREW  
(shuddering)  
Is there another...?  
  
SAMMY  
(off in another direction)  
And this is the mother of all equipment  
we got here in The Nook.   
  
Sammy gestures to a very nice looking television set.  
  
SAMMY  
Flat screen, high definition, and with  
audio so sweet your ears will be   
bleeding honey.  
  
ANDREW  
That's fantastic, and everything,  
but all I need to do is examine a  
tape. That's all.   
  
SAMMY  
Ah. What kind of tape?  
  
Andrew pauses... he doesn't really know.  
  
ANDREW  
A homemade one, I guess.   
  
Sammy right eye brow is raised.  
  
SAMMY  
Ahh, I got ya. There are tissues in  
the shelf over-  
  
ANDREW  
No! God, no. Ew. Please. No, no,  
that's not what-  
  
SAMMY  
Hey, I ain't judging!   
  
Sammy backs off and heads out the exit.  
  
SAMMY  
Be sure to lock up when you're done.  
  
He closes the door behind him.   
  
ANDREW  
(under his breath)  
Moron.   
  
Andrew sets his bag down and takes out the video, still bound inside "The Eye" case. He turns to the tv and switches it on. There's a very pregnant pause as he considers what he's about to do.  
  
KNOCK KNOCK.  
  
Scares the shit out of him. Andrew struggles to find his voice as he calls out-  
  
ANDREW  
Who's there?  
  
LOGAN (O.S.)  
Uh, Sammy? I have some of those  
Sum 41 burns that you wanted...  
  
ANDREW  
Lord, don't get me started on them.  
  
LOGAN (O.S.)  
(confused)  
Andrew?  
  
The door opens, and Logan pops in, holding some CD cases. He smiles awkwardly.  
  
LOGAN  
Sorry, I thought that-  
  
ANDREW  
No, it's alright.  
  
Logan takes a couple more steps in, setting the CDs on a counter as he passes.  
  
LOGAN  
Whatcha doin'?   
  
ANDREW  
Research.  
  
LOGAN  
Mm. This for your column?  
  
ANDREW  
(shrugs)  
We'll see.   
  
Andrew's clearly a little uncomfortable with this, and Logan can tell.  
  
LOGAN  
I'm not good at this shit..  
  
ANDREW  
Shit? Which kind?  
  
LOGAN  
I guess I wanted to apologize for  
yesterday. You know, with the...  
rudeness.  
  
ANDREW  
You're apologizing for something  
in your nature?  
  
Pause. Logan gets a little fed up.  
  
LOGAN  
Look, man, you can't expect me to  
atone for every damn thing that's  
happened since elementary school.  
  
ANDREW  
Atone! Check it out! MVP of Revere  
High's all-important basketball team  
knows an SAT word.  
  
LOGAN  
Why the hell are you doing this to me?  
I try so hard to-  
  
SOMEBODY CLEARS THEIR THROAT at the entrance of the room. They both look over to see Zelda standing at the door, looking more than a little annoyed.  
  
ZELDA  
Before you two resort to mud wrestling,  
I'd like a little word with Andrew.  
  
Andrew throws Logan a look and exits with her. Logan crosses his arms and lets out an exasperated breath.  
  
HIS POV: The Eye cover catches his attention. The blank, unmarked videotape remains half-pulled out of the cover. Intrigued, Logan walks over to it and pulls the tape out fully. He looks over at the VCR.  
  
INT. HALLWAY - CONTD  
  
Andrew shuts the door behind him.  
  
ANDREW  
God, that was horrible.  
  
ZELDA  
I'm sorry. I had to pull you out. I  
couldn't let His Assholeness spread  
his reign of terror out to the   
undeserving.  
  
ANDREW  
He's really not that bad when he's   
not... you know... talking.  
  
ZELDA  
The guy grosses me out to no end.  
He used to date Trixie Weller.  
  
ANDREW  
Trixie's nice.  
  
ZELDA  
Yeah, but who the hell names their kid that?  
  
ANDREW  
I appreciate your extraction chopper  
method of saving me, but if that's all,  
I really should get back...  
  
ZELDA  
Okay, that's cool. I'll seeya.  
  
ANDREW  
Yeah.  
  
ZELDA  
Hey... I'm picking you up tomorrow,  
remember? And you'll be there?  
  
ANDREW  
Oh yeah. On the dot.  
  
She smiles, then leaves. Andrew's eyes are almost immediately drawn to the door leading into the audio visual room.   
  
ANGLE: The little space between the bottom of the door and the floor is filled with a luminous LIGHT. Logan's watching something. Eerie, static-like humming can be heard filling the room, flowing through the cracks of the door.   
  
Andrew's heart skips a couple of beats, and goes into full-on panic mode. His hand grasps the knob, and he flings the door open.  
  
INT. AUDIO VISUAL ROOM - SAME  
  
LOGAN is standing in front of the flatscreened tv, staring at the very last image of the cursed video... that terrible, terrible well. Andrew bursts inside just as the screen bursts into static.  
  
ANDREW  
LOGAN!  
  
More angry than he is worried, Andrew runs up to Logan and SHAKES the guy furiously. It looks pretty ridiculous, considering how much bigger Logan is. But he only stands there, in shock, eyes wide and still staring at the tv.  
  
ANDREW  
You watched it?! Logan!! Did you  
watch it?!  
  
Andrew recieves no response... except for the ringing of a CELL PHONE. Logan swallows something rising in his throat, but still doesn't move. Shaking, Andrew reaches into Logan's pocket and answers for him.  
  
ANDREW  
(tensing)  
Hello?  
  
There's only silence, for what seems like forever. Logan finally snaps out of it and grabs the cell from Andrew's quivering hand.   
  
LOGAN  
Hello?  
  
More silence. Just before Logan hangs up-  
  
SAMARA (V.O.)  
(from phone, softly)  
...seven... days...  
  
His face contorts in anger.  
  
LOGAN  
Who the fuck is this??  
  
A sweet, but haunting melody suddenly comes through from the other end.  
  
"Here we go  
The world is spinning"  
  
Andrew grimaces, and his eyes widen. He hears it too. It's coming off the TELEVISION SET as well as Logan's phone.  
  
"When it stops  
It's just beginning"  
  
Logan takes his ear off the phone and stares at the tv along with Andrew. Neither of them know what to say.  
  
"Sun comes up  
We laugh and we cry"  
  
Andrew furiously turns up the volume.  
  
"Sun goes down  
And then-"  
  
ZZZT. The harsh buzz of static once again takes over the airwaves, the strange rhyme cut off. Logan listens to his phone again, but the line's now dead.  
  
CLOSE UP: The tv screen, again. A word is being smeared onto the static by, what one could guess is, a child's finger.   
  
"r e b o r n"  
  
They can't help but stare at the screen, and then, at each other. Logan's nose begins to bleed. 


	2. Day 1: Ashes to Ashes

INT. CLASSROOM - MINUTES LATER  
  
Empty except for Logan, who is lying on a couple of desks, a twisted up tissue partially inserted into his bleeding nostril. Andrew sits nearby, watching him sympathetically.  
  
LOGAN  
I knew the moment that I saw the well,  
this is the tape that kills you. This is  
the thing that killed Josh.   
  
Andrew furrows his brow in confusion.  
  
ANDREW  
I didn't see a well.  
  
Logan adjusts his body to see Andrew more clearly. The tissue in his nose makes his voice sound nasaly.  
  
LOGAN  
What?  
  
ANDREW  
When I saw the tape yesterday. I didn't  
see a well.  
  
LOGAN  
Did you watch it all the way through?  
  
ANDREW  
(shakes his head)  
No. At least, I don't think so. I turned  
it off after that part with the horses...  
  
Logan sits up suddenly, wildness in his eyes.  
  
LOGAN  
You didn't watch all of it, then. Did  
you get a phone call?  
  
Long beat of silence.   
  
ANDREW  
No.   
  
Logan's eyes shift from him to the floor.  
  
LOGAN  
I'm gonna die.  
  
Andrew gets up from his seat, moves closer to him.  
  
ANDREW  
Logan, no, we're gonna find a way-  
  
LOGAN  
How the hell are we?? Josh didn't!  
Katie didn't!  
  
He gets up, and in a fit of anger, SMASHES his fist into the black board, cracking it.   
  
ANDREW  
Logan!  
  
Andrew grabs him by the shoulders and pulls him away, then looks at his bloody knuckles. Logan pulls his fist away, then looks directly at him.  
  
LOGAN  
(quietly)  
This can't be real. How can a fucking  
tape kill me?   
  
Beat. Andrew suddenly gets an idea.  
  
ANDREW  
You said that a reporter found a girl's  
body... underneath the cabin that   
Josh and Katie and them found the  
tape. What's the reporter's name?  
  
LOGAN  
I don't think she'll wanna help us...  
  
ANDREW  
(desperately)  
Logan, I don't want you to die.  
  
The seriousness of it surprises both of them.   
  
ANDREW (contd)  
And this reporter may be the only way  
of helping us.   
  
His determined expression never wavers. Logan sighs.  
  
QUICK CUT: Logan pulling out a newspaper from his back pack.  
QUICK CUT: Pages of the Seattle P.I. being leafed through quickly.  
QUICK CUT: Logan pointing right at a picture of RACHEL KELLER.   
  
LOGAN  
That's the one.   
  
ON ANDREW, gently pushing Logan's finger away, staring in shock.   
  
LOGAN  
Andrew?   
  
ANDREW  
(to himself)  
Holy shit...  
  
CLOSE UP: The spot of the blackboard in which Logan punched. The point of impact is cracked   
in a circular, ring-like manner.   
  
FADE TO  
  
EXT. HIGH-RISE APARTMENT BUILDING - THE NEXT DAY  
  
Mid-afternoon, and predictably enough, it's raining.   
  
Caption: "THURSDAY: Day 1"  
  
Andrew and Logan are standing outside, sharing that same umbrella. They stare up at the large building before them. Andrew digs a piece of paper out of his pocket.   
  
LOGAN  
Is this is the place?  
  
ANDREW  
Fortunately.   
  
He puts the piece of paper back, and they start walking towards the building.  
  
LOGAN  
Do you think she'll help us?  
  
ANDREW  
I skipped a test to be here, Logan.  
If she doesn't, I'm forcing her to  
go to Revere to write the test  
for me.  
  
LOGAN  
With those girly noodle arms you  
have? You ain't forcing nobody.  
  
Andrew just glares at him as they walk inside the building.  
  
CUT TO  
  
INT. APARTMENT BUILDING - 12th FLOOR - CONTD  
  
A "ding" noise opens up the elevator doors, Andrew and Logan step out. They walk along the gloomy looking corridor until they come upon the correct apartment.  
  
ANDREW  
Ready?  
  
Logan nods. Andrew takes a breath and knocks a couple of times.   
  
Silence. He knocks a couple times more.  
  
ANDREW  
Ms. Keller?  
  
And a couple more.  
  
ANDREW  
Ms. Keller, my name is Andrew Dark.  
You gave me a tape at the Blockbuster  
near Revere yesterday.  
(then)  
I have to ask you about the discovery  
you made at Shelter Mountain Inn...  
  
Nothing. Logan slumps against a wall beside the door in disappointment.  
  
ANDREW  
I don't think she's home.  
  
LOGAN  
Or maybe that bitch doesn't wanna  
talk to us about it!  
(then)  
Let's just go.  
  
ANDREW  
Logan, we don't have enough time.  
  
LOGAN  
I have until next Wednesday. Alright?   
We'll figure something out. Let's just  
not waste the time we have here.  
  
After a moment, Andrew complies. They walk out together.  
  
INT. RACHEL'S APARTMENT - SAME  
  
It looks like Logan was right... Rachel is here. She's sitting ont he floor, knees drawn to her chest, rocking back and forth quietly. Tears stream down her face as she listens to the two teenagers walk away.  
  
She opens her mouth, as if to call out to them... but no words come.  
  
FADE TO  
  
INT. FOYER - LOGAN'S HOME - LATE AFTERNOON  
  
Logan opens up the door and enters, stripping off his dripping raincoat. Compared to Andrew's modest suburbanite home, this place looks like a mansion, with rich tapestries, chandeliers, high ceilings, and ornate paintings odorning the walls. Hell, this foyer here is bigger than Andrew's living room.   
  
LOGAN  
Dad? You home?  
  
INT. LIVING ROOM - CONTD  
  
An oaklined, spacious suite. Logan pushes the swing-doors open, slowly entering. No lights are on. His eyes immediately fall on the TELEVISION SET, turned on, an episode of "Dark Shadows" blazing across the screen.  
  
This casts an eerie light across the room. Blood is splattered across the television set, the bed, and part of the wall. A leather swivel chair is front of the tv, with a man sitting on it. Logan panics.  
  
LOGAN  
Oh my God, Dad??  
  
The images on the television flicker as Logan gets closer. This produces a terrifying "strobe light" effect on the room.   
  
LOGAN  
...Dad...?!  
  
Logan places his hand on the man's shoulder. A STING OF COLD shoots up his arm, startling him. Logan stumbles back as the chair SWIVELS AROUND to reveal...   
  
...NOAH, from the first film, in the same manner Rachel discovered him. Blue-green rotting skin, twisted mouth, milky white eyes, his nose torn off. Logan's face pales, and his stomach lurches. He opens his mouth and tries to scream, but he can't. He can only stare.  
  
A LOUD, MANLY voice suddenly fills the room.  
  
MAN (V.O.)  
Son?  
  
FLASH.  
  
Logan squints, blinks a couple of times, until he realises that the living room is normal, there's no blood, the TV is playing an episode of The Simpsons, and his dad, on the swivel chair, is not Noah. This is MARTIN REDFIELD, early 50s, warm and gentle, but constantly preoccupied.  
  
MARTIN  
Son, what's wrong?  
  
A cold bead of sweat runs down the side of Logan's face. He finds his voice.  
  
LOGAN  
Sorry.. sorry. I had a long day.  
(then)  
You're home early.  
  
MARTIN  
Yeah, can you believe it? We got  
the projections in ahead of schedule,  
so...  
  
Logan sits on an automan and pulls himself closer to his dad.  
  
LOGAN  
Hey, dad? D'you think... maybe...  
sometime before next Wednesday,  
we could do something?  
  
MARTIN  
Hmm?  
  
LOGAN  
You know, the cliched father-son  
thing. Play catch and fish with   
Will Smith's "Just The Two of Us"  
playing in the background?  
  
Martin smiles oddly.  
  
MARTIN  
Son, you'd know I love to, but this  
is the only time until May that I get  
any time off.   
  
Logan's face grows more and more expressionless.  
  
MARTIN  
I'm really sorry, Logan. But since your  
mom...  
(pauses)  
It just takes more effort nowadays to  
keep a house like this.  
  
LOGAN  
No, s'alright. I understand.   
  
MARTIN  
Besides...  
  
He kicks back in the chair, turning back towards The Simpsons.  
  
MARTIN  
...we have time. It's not like you're  
gonna drop dead next week.  
  
Off this blatant, obvious case of irony, weCUT TO  
  
EXT. ANDREW'S HOUSE - FRONT PORCH - SUNSET  
  
Zelda and Andrew are rocking back and forth on that rocking bench thing that porches so often have. They're watching the dark pink sky with quiet reflection.  
  
ANDREW  
Can I ask you a question?  
  
ZELDA  
Didn't you just ask one?  
  
ANDREW  
I'm trying to have a meaningful  
conversation here, not a monster  
sarcasm rally.  
  
ZELDA  
You're awfully touchy today.  
  
ANDREW  
I know. I'm sorry.   
  
CLOSE UP: His drink on a table next to the rocking bench. Andrew picks it up, and we see a RING OF WATER staining a paper underneath the cup.   
  
ANDREW  
(takes a sip)  
I'm gonna tell you something, and  
you can't laugh. Do you promise?  
  
ZELDA  
No.  
  
ANDREW  
(sighs)  
I saw the killer tape.   
  
Beat. Zelda doesn't laugh, but she does look at Andrew like he just grew antlers.  
  
ANDREW  
But I didn't see it all the way.   
Logan did. And I think he's gonna-  
  
ZELDA  
Wow, Andrew, I'm all for finding  
creative ways to slam Logan, but-  
  
ANDREW  
(dead serious)  
Listen to me! After he saw it he  
got this phone call...  
  
Zelda sighs, takes a drag from her cig, and decides to take him seriously.  
  
ZELDA  
Who was it?  
  
ANDREW  
The voice of a little girl. Said he  
had seven days.   
  
ANGLE: The sun slowly dipping below the horizon. The sky turns orange.  
  
It takes Zelda a while to form the following the sentence.  
  
ZELDA  
This tape... where is it?  
  
ANDREW  
Oh, it's in my bag.  
  
He grabs his backpack, unzips it, and rummages through. After a few moments...  
  
ANDREW  
Damn! I think I left it in the A/V room.  
  
ZELDA  
S'alright. Not like I wanna see it.  
(Andrew smiles lightly)  
What did you want to ask me?  
  
Beat. Andrew pins her down with a withering stare. He sits back in the bench.  
  
ANDREW  
What would you do, if you knew  
you only had one week to live?  
  
Zelda thinks, and thinks... but she can't form an answer. The ash from the end of her cig falls onto her lap.  
  
ZELDA  
Sonuvabitch! 


	3. Day 2: Samara's Playmate

INT. APARTMENT BUILDING - 12th FLOOR - THE NEXT DAY  
  
The same gloomy hallway we saw yesterday.  
  
CAPTION:"FRIDAY: Day Two"  
  
ANDREW enters frame, walking briskly and with purpose. He glances down at his wrist watch watch: 8:23 am. He looks back up, stops at Rachel's apartment, and just before he gets a chance to knock-  
  
AIDAN (O.S.)  
She talks about you.  
  
He JUMPS, and whips around like lightening. Rachel's small, wide-eyed son is standing there, dressed and ready for school.   
  
ANDREW  
I'm sorry?  
  
AIDAN  
She talks about you a lot.  
  
ANDREW  
Is... is your mom Rachel Keller?  
  
Aidan nods.  
  
ANDREW  
Your mom talks about me?  
  
AIDAN  
(shakes his head)  
The little girl.  
  
FLASH: Samara, in a church, staring at Andrew through the hair covering her face.  
  
Andrew's noticeably disturbed. Aidan keeps staring up at him.   
  
CUT TO  
  
INT. STARBUCKS - AFTERNOON   
  
A fairly busy cafe. Andrew and Aidan share a table, and they both look extremely out of place amongst the business men and women who usually frequent the place.  
Andrew's nursing a coffee, and Aidan has a slice of cheesecake before him, but he's not touching it. Andrew's audio recorder is sitting on the table, it's on.  
  
AIDAN  
She said that she likes you, even  
though you cheated.  
  
ANDREW  
What does she mean "cheated"?  
  
AIDAN  
(almost accusing him)  
You didn't watch the tape all the  
way, did you?  
  
ANDREW  
No...  
  
AIDAN  
She said that she doesn't like   
the one who did.  
(then)  
Did you show it to somebody?  
  
ANDREW  
I didn't. Somebody showed themselves.  
  
Aidan almost looks like he sighs with relief, but remains characteristically stoic.  
  
ANDREW  
Aidan, who is that girl? Did she make  
the tape?  
  
He nods.  
  
ANDREW  
Is she the one who kills you?  
  
Again, Aidan nods.  
  
ANDREW  
How do you know all this?  
  
AIDAN  
She tells me. Almost everyday, she  
tells me things.  
  
ANDREW  
Are you psychic?  
  
AIDAN  
That's what she says.  
  
Beat.  
  
AIDAN  
(quietly)  
Does she scare you?  
  
Andrew flinches. CLOSE UP: the circular lid of his coffee cup.  
  
ANDREW  
Yes.  
  
AIDAN  
She doesn't mean to. Scare you,  
that is. But even watching a little  
bit of the tape... she needs to  
show you things.  
  
ANDREW  
Why?   
  
AIDAN  
She wants you to understand.  
(then)  
She wants your friend to suffer.  
  
ANDREW  
Aidan, this is very important. You  
have to tell her to leave Logan   
alone. Can you do that?  
  
Aidan furiously shakes his head.  
  
AIDAN  
It doesn't work like that. He has  
to copy the tape and show it to  
somebody else before he dies.  
But Samara said he won't be able  
to anymore.   
  
ANDREW  
Samara. Is that her name?  
(Aidan nods)  
And Samara said Logan won't be  
able to copy it? Why?  
  
AIDAN  
I don't know. But she said... she  
wants to do things differently this  
time.   
  
A chill runs down the back of Andrew's neck.  
  
AIDAN  
(a whisper)  
She wants him to know what it   
feels like.   
  
CLOSE UP: Aidan's untouched cheesecake. A fly lands on it, and remains still.  
  
CUT TO  
  
INT. ANDREW'S KITCHEN - LATE AFTERNOON  
  
Logan and Andrew stand in the center of the kitchen, in the middle of a heated argument.  
  
ANDREW  
What the hell do you mean you  
destroyed the tape?!  
  
LOGAN  
(shocked, hurt)  
I was doing the world a favour,  
Andrew! The more people that  
get their hands on it-  
  
ANDREW  
That was the only way to save  
you! To make a copy! How the hell  
else are we going to lift his fucking  
curse?  
  
LOGAN  
Maybe we'll get lucky.  
  
Andrew stares at him incredulously.  
  
LOGAN (CON'TD)  
Maybe this whole thing will turn out  
to be some hoax, and next Wednesday,  
I'll be chilling.  
  
ANDREW  
I don't believe you. How can you be so  
la-dee-dah about this? I saw the look  
on your face when you got that phone   
call. You believed it too.  
  
Silence. And then, a doorbell.  
  
ANDREW  
Ah, that's her.   
  
He starts for the front door.  
  
LOGAN  
Who?  
  
ANDREW  
Your bestest friend in the entire world.  
  
CUT TO  
  
INT. ANDREW'S LIVING ROOM - LATER  
  
The atmosphere is tense. ZELDA and LOGAN are sitting on the same couch, but at polar opposite ends. She looks really pissed off, while Logan looks really bored. The loud ticking of a grandfather clock fills the room.   
  
After another beat, Andrew enters with a shitload of files and papers.   
  
ANDREW  
Sorry for the wait.   
  
He sits down in front of the couch; Zelda and Logan join him.   
  
ANDREW  
These are things Aidan gave me.  
Said his mom was gonna throw  
them out...   
  
CLOSE UP: The files in question are printed out articles, x-ray pictures, and stuff like that. Stuff Rachel was keeping in the first film.  
  
ZELDA  
How is this gonna help us?  
  
ANDREW  
Aidan just said to look.  
  
Logan remains quiet. He picks up a nensha-ized xray, holds it up to the light.   
  
LOGAN  
Christ.  
  
It's the familiar image of a barbie doll being poked and prodded with needles. Zelda reads off a folder label.  
  
ZELDA  
"Projected Thermography".  
(beat)  
This girl. She must've made these  
with...  
  
LOGAN  
Her powers.  
  
She looks at him.  
  
ZELDA  
That's one way of putting it.  
  
There's still tension between them. Andrew tries defusing it.  
  
ANDREW  
Look, here.  
  
CLOSE UP: A dirty, tattered looking SCHOOL ASSIGNMENT. It's a crayon drawing of several dead, bloodied horses. A "?" is the only indication of teacher marking.   
  
LOGAN  
Angry girl.   
  
Andrew flips it over, reads some comments.  
  
ANDREW  
"Samara, please stay after school.  
I want to talk to you about this  
drawing."   
  
His frow burrows.  
  
ANDREW  
So she went to a school?   
  
Logan finds another drawing, and hands it to Andrew.  
  
CLOSE UP: A drawing of a tree in the foreground, and a nice playground. Zelda rummages through the other papers, and comes across one entitled "WEEKLY REPORT".   
  
ZELDA  
"Samara's loneliness has affected  
her ability to concentrate. I would  
recommend, if this continues, that  
she be transferred to a different  
school that could address her  
needs. Sincerely, Mrs. Cromwell."  
  
LOGAN  
When's it dated?  
  
She glares at him for a split second.   
  
ZELDA  
November 7th, 1977.   
  
Andrew takes the report, examines it.  
  
ANDREW  
"Macklin Public School"...   
  
An idea begins forming in his head.  
  
ANDREW  
That's only a half hour away from Seattle.   
We could go tomorrow.   
  
LOGAN  
How do you know this is what we're   
looking for?  
  
ANDREW  
Well, there's this...  
  
He points to a post-it note attached to the back of the report, with a message written on it in a child's scrawl.  
  
"This is what you're looking for.   
~A. Keller" 


	4. Day 3: Mrs Cromwell

EXT. LONG ROAD - THE NEXT MORNING  
  
A beautiful over-head shot of a car moving down a rain-slicked road, with thick forests on either side. We come upon a tiny ELEMENTARY SCHOOL.  
  
Caption: "SATURDAY: Day Three"  
  
EXT. MACKLIN P.S. - CONT'D   
  
The convertible pulls up and Zelda, Logan, and Andrew pile out. They all look over at the very small, very quaint Macklin Public School.  
  
ZELDA  
Cute.   
  
LOGAN  
Okay, we've seen the damn school.   
What now?  
  
Andrew walks up to the front doors and peers into the darkness beyond.  
  
ANDREW  
Doesn't look like there's anyone in  
there.  
(turns to his friends)  
I need you two to work together.   
  
Zelda and Logan eye him, then each other. They almost seem to share a grimace.  
  
ANDREW  
Guys, I mean it. I need you to   
get into the office and find a...  
a file, I guess, on Mrs. Cromwell.  
  
ZELDA  
Who?  
  
LOGAN  
Samara's teacher.   
  
ZELDA  
(glaring)  
I wasn't asking you.  
  
ANDREW  
Hey!  
  
They stop.  
  
ANDREW  
It's a small, small school, it can't  
house more than 100 kids, so there  
probably won't be any security.  
Can you guys do this for me?  
  
It takes them a while, but they both nod.  
  
LOGAN  
What about you? What's your mission?  
  
CUT TO  
EXT. MACKLIN SCHOOL YARD - MINUTES LATER  
  
What the school lacks in size makes up for it with this vast yard. Grassy knols, a couple of baseball diamonds, several trees. ANDREW wanders through, looking around, letting himself get lost. A steady wind blows the hair away from his face.  
  
HIS POV: lazily panning across the landscape. It feels subtley forboding...  
  
Andrew turns around and sees a large, dead tree. The wind grows slightly colder.   
  
CLOSE UP: A large circle of dead, dried up soil runs around the base of the tree.  
Andrew bends down and feels the dirt for a sec, and then stands back up again. He looks over and sees that just beyond the tree is an abandoned PLAYGROUND.  
  
CLOSE UP: A crayon rendering of that same playground. We saw this earlier.   
  
Andrew looks down and sees that a branch is sticking out of the tree in front of him, at waist-height. He looks closer and sees that a small HAND PRINT looks it's been burned right into the shrivelled wood. Curiously, and cautiously, he grabs the branch at the place of the burnt hand print.  
  
FLASH TO  
  
INT. SCHOOL YARD - EXT. PLAYGROUND - FLASHBACK  
  
The screen has been tinted with an odd sepia tone. At the place where Andrew was once standing is SAMARA. Her hair has been parted and she looks with dull, curious eyes at the playground, which is now alive with children and activity. Her hand is grabbing the branch in front of her, in the same manner Andrew was.   
  
We realize, upon seeing the frame WIDEN, that she's standing all by herself, letting the wind ruffle up her white dress, as she watches the children play.   
  
Her expression remains blank and unreadable.   
  
CLOSE UP: Samara's hand gripping the branch very, very tightly. So tightly, in fact, that blood begins to trickle from her clenched fist.  
  
  
RETURN TO  
  
INT. SCHOOL YARD - EXT. PLAYGROUND - PRESENT TIME  
  
The force of it all THROWS Andrew back somewhat, he staggers to find his balance. Trying to find his breath, he looks down at his hand and gasps.  
  
CLOSE UP: His palm to his fingers are completely drenched in blood, but there aren't any visible cuts. Puzzled, Andrew looks over at the tree branch he was just holding.  
  
THE HAND PRINT IS BLEEDING. And not just mildly, it's letting loose thick rivers of deep, red, crimson blood.   
  
FLASH CUT: One of the newer images of the video, and one most relevant to this scene: a tree, with bare, dead branches is framed in front of a playground, which contains several WRITHING CHILDREN screaming, being burnt to death.  
  
CUT TO  
  
INT. PRINCIPAL'S OFFICE - MACKLIN P.S. - SAME  
  
CLOSE UP: There was once frosted glass on this office door, but it is now living happily as a pile of shards on the ground.  
  
WIDER to reveal a small, quaint little office area with a small room for the secretary and another bigger room for the principal, files, records, and all that. ZELDA and LOGAN work furiously as they skim through mounds of files, working their flashlights in the darkened space.  
  
LOGAN  
Would you miss me?  
  
Zelda makes a sound that's part snort, part chortle, and part disgust. She continues going through office papers.  
  
LOGAN  
Master of the english language,  
ladies and gentlemen.  
  
ZELDA  
(eyes still on paper)  
Logan, I'm not gonna honestly  
answer that. I hate to see grown  
men cry.  
  
He glares at her. She goes through some more records, never looking at him.  
  
ZELDA (contd)  
Although the jury's still out on  
that "grown man" part.  
  
LOGAN  
What the hell's your problem?  
I'm gonna die.  
  
ZELDA  
No, you're not.  
  
LOGAN  
What makes you so damn sure?  
  
Zelda slams a file down, finally making direct eye contact with him.  
  
ZELDA  
Because this is what you do, Logan!  
You blew ever single thing out of  
proportion! This murdering tape has  
to the most assiest-sounding lie I've  
ever heard.   
  
LOGAN  
Well how do you explain the phone call?  
  
ZELDA  
Crank call.  
  
Logan shakes his heard, staring at her disbelievingly.   
  
LOGAN  
You weren't there. You couldn't have  
known what it was like.  
  
She crosses her arms and leans against the filing cabinet.  
  
ZELDA   
Why did you ask me that?  
(he doesn't answer)  
If you're so sure you're gonna die,  
why waste your time in trying to get  
me to like you again?  
  
Logan KICKS the cabinet she's leaning on, causing her to JUMP a bit.  
  
LOGAN  
Here's a question for you, Zeldie,  
why the fuck ARE you here? Your  
"Logan=AntiChrist" agenda has been  
clear for a long, long time, and I'm  
just not comprending your presence  
right now.  
  
Zelda scowls and goes back to the papers, getting fed up.  
  
ZELDA  
I'm doing this for Andrew. Not you.  
  
Beat. Logan goes back to their original duty as well.   
  
LOGAN  
(quieter)  
Can I ask you something? About   
Andrew?  
  
ZELDA  
Maybe.  
  
LOGAN  
(pauses)  
Are you his only friend?  
  
Zelda looks up to meet his gaze. She doesn't know how to answer.   
  
ANDREW (O.S.)  
Hey.  
  
They both jump a bit as they look to the front of the office, to see Andrew entering through the broken door. He's obviously a bit shaken.  
  
ANDREW  
(gazing at the door)  
For the record, I suggested the credit  
card method of unlocking.  
  
ZELDA  
I kinda feel bad. This is practically a  
basement daycare center and we're  
bashing in their expensive frosted glass.  
  
ANDREW  
I'm sure they'll manage without it.  
  
He goes to join them.   
  
ANDREW  
Find anything on her?   
  
LOGAN  
No, man. We've looked and looked and  
looked...  
  
ZELDA  
Would using the needle-haystack   
analogy seem redundant? Because   
I'm pretty tempted to use it.  
  
Andrew stick his hand into the pile, brings out a random file, and shines Logan's light on it.  
  
ANDREW  
(reading)  
Cromwell, Ruth.   
(beat)  
Feeling tempted to use it now,  
Zelda?   
  
She forces a smile.   
  
SMASH TO  
  
EXT. HOUSE - DUSK   
  
THE SUN dips lower and lower into the sky, it seems a little faster than normal. Andrew, Zelda, and Logan stand outside of a slightly creepy looking two story home. There's an untended, wildly overgrown lawn and blackened roses in the garden.  
  
CLOSE UP: The front door. Andrew's fist knocks against it.  
  
The trio glance each other over.  
  
ZELDA  
Are you sure this is a good idea?  
  
ANDREW  
Why do you say that?  
  
ZELDA  
I... don't know exactly. But doesn't  
someone always ask that?   
  
The door opens, and they find themselves being stared at by RUTH CROMWELL, a sour looking elderly woman in a conservative black dress and hair in a tight bun. She eyes them all with angry suspicion, partially hiding herself behind the door.  
  
RUTH  
Can I help you three?  
  
ANDREW  
Are you Ruth Cromwell?   
  
RUTH  
Maybe. Who wants to know?  
  
ANDREW  
The Mrs. Cromwell who used to teach  
at Macklin Public School?  
  
Ruth purses her dry lips.  
  
RUTH  
What's this all about?   
  
LOGAN  
We want to ask you about a student  
you used to teach. In 1977.   
  
RUTH  
I've taught hundreds and hundreds  
of kids, I can't attach any name to  
any face.  
  
She begins to close the door. Andrew steps up; desperate.  
  
ANDREW  
Samara Morgan.   
  
Ruth grips the door so hard her fingernails start digging into the wood. She stares at Andrew, puzzled and bothered.  
  
FADE TO  
  
INT. RUTH'S LIVING ROOM - A LITTLE LATER  
  
Dull wallpaper and even duller furniture adorn this considerably dull room. There's a tv, but it's an old-timey-dinosaur tv with the rabbit ear antennas. Ruth sits in an arm chair, a tray in front of her, pouring tea into three cups. The trio sits on a couch before her.   
  
RUTH  
It was my first class. I was terribly  
nervous, that first day. But the   
children were so happy and alive...  
it made it easier.   
  
ZELDA  
And Samara was in that class?  
  
RUTH  
Not at first, no. In November, her  
parents came in to meet with me  
and the principal. There was   
something about those two...  
  
FLASHCUT: Richard Morgan standing ominously in front of a window of his home.  
FLASHCUT: Anna Morgan brushing her hair peacefully in front of a small oval mirror.   
  
RUTH  
They said they had a little girl   
who's never been educated, and  
they didn't want to humiliate her  
by putting her in a kindergarten  
class. She was a bit too old for it.   
  
Zelda, Andrew, and Logan simutaneously take a sip of tea, listening intently.  
  
RUTH  
So we decided we'd put Samara  
in my class, for one week, to see  
how she'd do, if she'd like it.   
  
ANDREW  
Did she?  
  
Ruth's face darkens. She stares down at the rim of her tea cup.  
  
RUTH  
Samara barely said anything to  
anyone. The students... me...  
she was so damn shy. She'd sit  
at her table and just... draw.   
For hours and hours, she'd make   
these pictures. And the other  
students were so unsettled by her.  
  
FLASHCUT: A sea of dead, bloody horses.  
  
LOGAN  
How did she get along with the  
other kids?  
  
Ruth gives a tiny laugh, but she doesn't sound or look amused at all.  
  
RUTH  
Samara hated the other children,  
and they hated her back. I'd  
watch them play at recess. They'd  
force Samara to ask them to join,  
and then they'd refuse and laugh  
at her.  
  
Andrew's mouth twists into an empathetic frown.  
  
RUTH  
So every single recess of those  
four days she was with us... she'd  
stand alone, under a tree.   
  
FLASHCUT: Blood pouring from a low-hanging branch.  
  
ANDREW  
(barely audible)  
That's all she'd do?  
  
RUTH  
One day she stood there long  
after school ended. She refused  
to move. Even when her parents  
came to pick her up.   
  
ZELDA  
Wait, you said she was with you  
for four days?  
(Ruth nods)  
Is that how long the schoolweeks  
were back then?  
  
RUTH  
No... they were still five days.   
  
She eyes each of them quickly, then looks back down.  
  
RUTH  
There was... an accident on the  
fourth day.   
  
The temperature in the room seems to drop dramatically.   
  
ANDREW  
Of what kind? Was Samara... hurt?  
  
RUTH  
Heavens, no.  
  
Ruth takes a moment to compose herself. She smooths out her lap.  
  
RUTH  
There was a boy. On the first day  
Samara came in, that boy would  
run up to me and shriek "Miss! Miss!  
The weird girl is making me see  
things!" Everyday. And on that  
fourth day, when Samara was  
standing the tree, I could feel   
her watching that boy. I saw her  
gripping the branch in front of  
her. I saw her blood run.  
  
Andrew flinches a little.   
  
RUTH  
As I went running up to her, to  
tell her to stop, there was this  
terrible screaming in the playground.  
It seemed to get louder and louder,  
and I turned to Samara and...  
  
She trails off, getting lost in the memory. But not in a good way.  
  
LOGAN  
Ma'am?   
  
Ruth shakes her head slowly.  
  
RUTH  
She was smiling.  
  
Beat. Andrew, Zelda, and Logan feel the temperature drop even lower.  
  
RUTH  
The boy was dead. Handprints  
burned onto his body... but we  
got a statement saying that  
his heart just simply stopped  
beating.   
  
ZELDA  
Do they know what-  
  
RUTH  
None of them "knew what". But I  
certainly did.  
  
She takes a long sip out of her now-cold tea cup. The trio have completely forgotten about theirs, and they follow suit.  
  
RUTH  
I'm not a religious woman, but  
the moment I saw that...  
(disgusted)  
...that smirk... I knew the Devil  
was in that child.   
  
A stunned beat. Zelda leans forward, her voice small and plaintive.  
  
ZELDA  
Is there any possibility at all, that  
you're being slightly overdramatic?  
  
No reply, except for Ruth's icy glare. Zelda shrinks back and smiles fakely, while Logan puts his reddened face in his hands. Ruth crosses her arms, observing these three teens with cold annoyance.  
  
RUTH  
Are any of you related to this girl?  
  
ANDREW  
No. We don't... think so.  
  
RUTH  
Then I'm puzzled as to what your  
intentions are concerning this girl.  
  
ANDREW  
Well, we're writing...  
  
LOGAN/ZELDA  
(simtuaneously)  
A report/A screenplay.  
  
The two of them glare at one another.  
  
LOGAN/ZELDA  
(trying again)  
A screenplay!/A report!  
  
And again.  
  
LOGAN/ZELDA  
(finally)  
A book.   
  
ANDREW  
We'd really appreciate it if you could  
share anymore insight on Samara.   
You said she scared the other kids?  
  
RUTH  
(nods)  
She'd write these... ominous messages  
all over her desk, and on her last day,  
she wrote something particularly odd  
all over the dress I was wearing.  
(she laughs a bit)  
I didn't even know how the hell was  
able to...   
  
LOGAN  
Do you still have this dress?  
  
RUTH  
I do.  
  
A beat. None of the trio really want to ask the next obvious question.  
  
RUTH  
I suppose you'd like to see it.  
  
ZELDA  
If it's not too much trouble...  
  
TIMECUT: Several moments later, a big CLOSEUP of a faded old rural-type flora dress. Over the belly area we see the large lettering of the following message:  
  
"to release me, u have to be me"  
  
Andrew, Logan, and Zelda stare at the scrawl in absolute bewilderment. Ruth films her hand away in disgust.  
  
RUTH  
It's been a little more than 20 years  
and I still haven't found a way to get  
that damn ink off the fabric. Makes   
me wonder what kind of pen that  
blasted girl used.  
  
ANDREW  
You didn't see, or feel her writing this  
on you?  
  
RUTH  
I wouldn't have known at all if one of  
my students' hadn't pointed it out to me.  
  
ZELDA  
Do you have any idea what this means?  
Any at all?  
  
RUTH  
I don't understand a damn word. If  
you ask me... Samara wasn't really  
right in the head.  
  
The CAMERA drifts over to Andrew, who's letting his shaking fingers feel the writing over the fabric. A dry coldness enters his body.   
  
RUTH (o.s.)  
...she never really belonged.  
  
FADE TO  
  
INT. ZELDA'S CONVERTIBLE - LATE NIGHT   
  
It's late, the sky is dark, and our three adventurers are feeling damn tired. Zelda's driving, Logan's riding shotgun and Andrew is lying down in the backseat. He stares up at the car ceiling, deep in thought.  
  
ZELDA  
So, if anyone would like to explain  
the validity of that outing, I would  
appreciate it.  
(quickly)  
Not that I thought it was a waste  
of time, Andrew.  
  
LOGAN  
We needed to find out more about  
Samara. From someone who knew  
her.  
  
ZELDA  
Ruth didn't know her. Ruth just...  
reacted to her. Several times.  
  
ANDREW  
We know something new about  
Samara.  
  
They both look back to him. Andrew sits up.  
  
ANDREW  
She wants to be released. "To  
release me, you have to be me."  
  
LOGAN  
I ain't gonna release that freaky  
bitch!   
  
ANDREW  
Try seeing the grey side of things,  
Logan! Samara was a loner. And  
you guys read those Eola transcripts,  
right? Her mom and dad weren't  
exactly gonna win any Parental  
Competency awards.   
  
LOGAN  
Christ, sympathetic much? This  
girl's gonna kill me, Andrew. We  
need to beat her.  
  
ANDREW  
Maybe this is the way! Maybe,  
by releasing her, we'll appease  
her spirit. And with you destroying  
the tape - poof. No more curse.  
  
Zelda shifts in her seat.  
  
ZELDA  
But what about the second part  
of the message? "You have to  
be me"?   
  
Beat. Andrew starts scratching his neck.  
  
ANDREW  
And therein lies the mystery.   
  
ON LOGAN, disappointed, but trying very hard to hide his feelings. He stares out of the passenger side window... peering into the darkness. 


	5. Day 4&5: Messages from Beyond

INT. LOGAN'S ROOM - MORNING  
  
A huge room filled with several things a rich teenaged boy would get. A king sized bed, a widescreen tv, pin-up girl posters, videogame consoles... you name it.   
  
Caption: "SUNDAY: Day Four"  
  
Althouh the clock on the wall clearly reads 2:13 PM, Logan is still in a t-shirt and boxers, sitting cross legged on the floor, manically drawing circles onto an Entertainment Weekly cover. WIDER revealing several other magazine covers have dark circles drawn into them, as well.   
  
ON LOGAN'S FACE straining with effort. He stares down at his whirling hand as if it were an entity all on its own.  
  
CLOSE UP: The sharpee marker as Logan forces it around and around Jennifer Connelly's face. His hand suddenly picks up speed.   
  
CUT TO  
  
INT. ANDREW'S LIVING ROOM - SAME  
  
Andrew enters frame with a jar of room temperature water. He walks over to the bay window ledge, and waters the four remaining potted plants. Andrew looks over his shoulder, feeling a sudden chill.  
  
CLOSE UP: The tv. Its blank, reflective screen staring back at us.  
  
He takes a moment, then lets it go. Andrew sits on the couch in front of the tv, and grabs a portable phone and a piece of paper from a side table. Looking at the paper, he punches in a phone number, then holds the reciever to his ear. A couple beats.  
  
WOMAN   
(from phone)  
Hello?  
  
ANDREW  
Hi, yes, I'd like to speak with Diane  
Dark. She's staying at suite 77.  
  
Silence. Andrew taps his fingers on his lap.  
  
ANDREW  
(louder)  
I'd like to speak with Diane Dark.  
I'm her son. She's staying at suite-  
  
WOMAN  
(from phone)  
Hello? Hello?  
  
He frowns, and then squints hard at the little piece of paper.  
  
ANDREW  
Is this the Hilton? 555-7843?  
  
WOMAN  
(from phone)  
Who is this?   
  
Andrew lets out an exasperated breath, but his eyes catch the tv screen. He tenses, nearly screams.  
  
ANGLE: The TV screen. It's displaying ANNA MORGAN, in her odd 18th century garb, standing in front of that familiar oval mirror. The screen is tinted in that same grainy quality that's on the cursed video. Anna's speaking into a phone. To Andrew.  
  
ANNA  
I told you never to call again!  
Leave us alone!  
  
She SLAMS the phone down, shuddering as anger and fear overcome her. RICHARD MORGAN joins her side, putting a comforting hand on her shoulder.  
  
ANDREW stares at the tv, mouth wide open. What the fucking fuck?  
  
ANNA  
It was those terrible school   
children... they just won't leave  
her alone...  
  
RICHARD  
I told you to ignore them.  
  
ANNA  
They're calling almost every day!  
  
Richard, suddenly infuriated, TIPS THE TABLE OVER, crashing the phone onto the ground. He overreactingly grabs Anna by the shoulders - hard enough to hurt her.  
  
RICHARD  
YOU WANTED HER IN SCHOOL!  
YOU WANTED HER OUT OF THE  
GOD DAMN HOUSE!  
  
Anna freezes in terror.   
  
ON ANDREW, holding the phone so tightly, it starts to slip from his hand sweat.  
  
Richard lets her go, realizing. Anna gingerly touches her shoulder, eyes watering.  
  
RICHARD  
(softer)  
It'll stop soon enough, Anna.  
  
SAMARA (O.S.)  
It doesn't... stop.  
  
The both of them react as if they just heard a bomb was about to drop over them. Samara is standing across the room, looking up at them coldly.  
  
SAMARA  
It never stops.  
  
Richard immediately charges at her. Samara backs away in horror.  
  
RICHARD  
I told you to stay in the barn,  
girl.  
  
She backs away until she hits a corner of the room. Slowly, she sinks down to the floor. As Richard approaches closer, Samara looks up... RIGHT AT ANDREW.  
  
SAMARA  
After Logan...  
  
ON ANDREW. His heart skips a beat.  
  
SAMARA (CONTD)  
...I won't need a tape anymore.   
  
RICHARD finally reaches his daughter and grabs her roughly by the shoulder. The screen suddenly reverts back to cold, harsh STATIC.   
  
Andrew sits, frozen for a couple of seconds, until a voice emerges from the phone, still clutched tightly in his right hand.   
  
WOMAN   
(from phone)  
Hello? Sir?  
  
He brings it to his ear, terrified.  
  
WOMAN  
This is Mina Perry, Hilton Chicago  
manager. Ms. Dark isn't in her suite,  
right now, would you like me to take  
a message?  
  
Andrew's too shaken to answer. Over his shoulder, we see the remaining potted plants on the window ledge slowly dry up, blackening in the process.  
  
SMASH TO  
  
INT. LOGAN'S ROOM - LATE AFTERNOON  
  
The clock clearly reads "5:23 PM" and Logan's still huddled in here, dressed as lazily as he was in his previous scene. He's in the corner, hugging his bare legs up to his chest. There's a KNOCK KNOCK at the door.   
  
LOGAN  
It's never locked.  
  
There's some hesitation, and the door opens. It's Zelda, and she's carrying a cardboard box marked "Sir Asshole". She looks rather pensive, closing the door.  
  
ZELDA  
Hey, uh... I realized during my daily  
rummaging that I still had some of  
your stuff.   
  
She sets the box on his bed, and eyes Logan a bit curiously.  
  
ZELDA  
Why aren't you wearing any pants?  
  
He only looks at her for a second, and then at the ground. Zelda shakes it off and begins taking stuff out of the box.  
  
ZELDA  
Some of your CDs... DVDs... your  
Fubu jacket... and what I think   
was supposed to be your project  
for Computer Engineering.  
  
She takes out a tangle of wires and construction paper. Logan continues being inert and quiet... and Zelda becomes increasingly bothered by this.  
  
ZELDA  
You're disturbingly Zen for somebody  
who thinks he's gonna die in three  
days.   
  
Never taking his eyes off his knees, Logan's mouth twists into a quiet smile.  
  
LOGAN  
You've been keeping count.   
  
ZELDA  
Not in a... sad "omigodhesgonnadie"  
kinda way. More like a "yawn,areyou  
deadyet?" kinda way.  
  
LOGAN  
You don't mean that.  
  
ZELDA  
Fuck, man, you're always-  
  
Zelda stops when the posters adorning Logan's walls catch her attention.  
  
The CAMERA drifts from wall to wall. On every single one of Logan's pin-up girl posters (and there are dozens of them), black marker has been furiously drawn over each of the models' faces in long, broad strokes, to simulate long black hair.   
  
Logan gets to his feet, looking totally lost. Zelda becomes more unnerved, seeing the sadness in his eyes.  
  
ZELDA  
(ghostly quiet)  
There really is a videotape.  
  
He runs his hand down the drawn-in hair of one of the poster girls.   
  
LOGAN  
Not anymore.  
  
Zelda swallows something rising in her throat as she moves closer to him.  
  
ZELDA  
Logan, you can't spend the rest of  
your days cooped in here. We have  
to find a way.  
  
LOGAN  
There IS no way. I burned the tape.  
Copying it was the only cure.  
  
ZELDA  
(refusing to believe it)  
Something else, then. That message  
on Mrs. Cromwell's dress-  
  
Logan spins around to face her, nearly exploding.  
  
LOGAN  
It didn't mean anything!! It was   
Samara just being a spazzed out  
freak!   
  
ZELDA  
But Andrew said-  
  
LOGAN  
(mimicking her)  
"But Andrew said-"... Fuck him!  
  
Zelda slaps him, HARD. The tension between them spikes.  
  
ZELDA  
(through gritted teeth)  
He's trying to save you.  
  
Logan grabs Zelda by the shoulders (in, alarmingly, the same manner that Richard did to Anna in the previous scene) and SHOVES her hard against the nearest wall. She lets out a pained, shocked gasp.   
  
LOGAN  
I don't want to be saved.  
  
Zelda can only stare at him , befuddled. Logan lets go, but doesn't appear apologetic.  
  
LOGAN  
With me, this curse dies. That's the  
way I want it to be.   
  
FADE TO  
  
EXT. ROAD - NIGHT  
  
CLOSE UP of the full moon, burning brightly in the darkened sky. The CAMERA lowers revealing this barren road situated in the middle of nowhere. ANDREW walks down the middle of the road, his unease growing by the second.   
  
He looks down and sees a bloody message scrawled across the road before him.   
  
"GETOUTGETOUT U CANT BE IN HERE"  
  
Andrew's brow furrows in confusion, as a shadow falls across the wording. He spins around, seeing nothing but the darkness ahead.  
  
ANDREW  
Hello?  
  
He seems almost surprised at the sound of his voice. Andrew continues forward.   
  
ANOTHER CLOSE UP of the full moon, as it suddenly turns a deep, bloody RED.  
  
Andrew stops when he realises that there's an object in the distance. He squints to try and see it, as the crimson light floods over his face. Andrew breaks into a run.  
  
ANDREW  
Hello?? Is someone-  
  
He stops as soon as the object becomes clear to him. It's nothing but an old looking CHAIR sitting serenely in the center of the road. A music-box rythym suddenly fills the air, both beautiful and strangely unsettling at the same time.   
  
CLOSE UP on Andrew's fingers as they brush past the top rim of the chair.   
  
ANDREW  
This isn't supposed to be here...  
  
AIDAN (O.S.)  
Haven't you seen her yet?  
  
Andrew looks up and is very startled to see AIDAN standing behind the chair. There's a small handprint BURNT onto his face.  
  
AIDAN (contd)  
She'll be here soon. She needs two  
more days.  
  
ANDREW  
Aidan, WHAT does Samara want?  
  
AIDAN  
You're not supposed to find out from  
me.   
  
ANDREW  
Then from who?! No offence kid, but  
you're really starting to piss me off.   
  
AIDAN  
You don't understand.   
  
ANDREW  
Then help me. How do I appease her  
spirit? How do I stop Logan from dying?  
  
Aidan looks down at his feet, almost guiltily. The handprint on his face seems to grow.  
  
ANDREW  
Aidan...?  
  
AIDAN  
(with a start)  
Eola.   
  
ANDREW  
What?  
  
AIDAN  
You'll find out there.  
  
The sound of GALLOPING HORSES fills Andrew's ears. He looks behind him, to the side of him, but sees nothing. He looks back to Aidan, only to discover he and chair have vanished.   
  
Beat. The galloping becomes increasingly louder. ANDREW'S POV: He can barely make out the outline of SEVERAL HORSES charging right at him. Panicking, Andrew turns around and runs as fast as his legs can carry him.  
  
ON THE HORSES, a large herd of them, racing towards Andrew. They look petrified.   
  
Andrew runs and runs and runs, but he screeches to a halt once he sees that just several feet before him is the EDGE OF A CLIFF. He peers down, shaking, to see a terrifying 20-foot drop into hard ocean waves crashing into jagged rocks.   
  
He turns around to see the horses are showing no signs of slowing down. Andrew grimaces and hits the ground, hands over his head. One by one the horses LEAP OVER HIM and off the cliff.   
  
As soon as the last horse takes the suicidal dive, Andrew covers his ears. The air fills with the unnerving sound of the horses shrieking with pain, and much splattering.   
  
SMASH TO  
  
ANDREW'S SWEATING, TERRIFIED FACE as he awakens with a start.   
  
Beat. He looks around, seeing the familiar confines of his room. After a couple of early-morning yawns, stretches and groans, Andrew starts to get out bed, when he realises his sheets are partially covered in blood.  
  
HIS POV: Every single one of his fingernails are BLEEDING.   
  
Caption: "MONDAY: Day Five"  
  
INT. REVERE HIGH LIBRARY - MORNING   
  
Our three shaken heroes have gathered, over a table, looking over past documents and discussing heavily.  
  
ZELDA  
A little boy told you to go to Eola?  
  
ANDREW  
Yes.  
  
ZELDA  
In your dream?  
  
ANDREW  
Yes.  
  
Beat.  
  
ZELDA  
(unsurely)  
Alright.  
  
ANDREW  
Eola County Psychiatric Hospital.   
It makes sense. Samara and her  
mother were admitted there.   
  
LOGAN  
So what's your plan?  
  
ANDREW  
I think I should go. To Eola.   
  
LOGAN  
Just you?   
  
ZELDA  
I'd say that borders on selfish.  
  
ANDREW  
I think you need to be somewhere  
else. In that dream... there were  
horses. And they were chasing me  
away. And being the amazingly  
smart guy that I am, I think that's  
symbolic of something.  
  
Zelda holds up a paper.  
  
ZELDA  
They did keep horses at their Ranch...  
  
ANDREW  
On Moesko Island.  
(then)  
That's it. Logan, you need to go to  
their ranch on Moesko.   
  
LOGAN  
What would that accomplish?  
  
ANDREW  
Samara's appeasement. A lot of her  
pain was there in that Ranch... and  
her room was in the barn... you could  
sorta, like, seek out her spirit.   
  
ZELDA  
Am I the only here who thinks this is  
one chaotically bad idea?  
  
ANDREW  
Maybe you guys go to The Morgan  
Ranch the same time I drop a visit  
to Eola, Samara will realise we're just  
trying to help her.   
  
LOGAN  
"You guys"?  
  
ANDREW  
You and Zelda.  
  
Beat. She and Logan glance at each other. There's still bad air about them.   
  
ANDREW  
Do you guys have any other ideas?  
  
They really don't.   
  
ANDREW  
And I hope I don't have to explain  
the importance of teamwork? I mean,  
we're all adults here.   
  
They both glare at him. He smiles back a little.   
  
CUT TO  
  
INT. HALLWAY - REVERE HIGH - AFTERNOON  
  
Zelda and Andrew walk through the sparse, locker-clad hall.   
  
ANDREW  
It just feels weird, you know? Like,  
school doesn't really matter anymore.  
  
ZELDA  
You're not the one in danger of dying.  
  
ANDREW  
That doesn't matter. Logan's still my-  
  
ZELDA  
Friend?  
  
She stops him.   
  
ZELDA  
You hated him as much as I did before  
this shit started happening. And now,  
all of the sudden, you guys are BFFs?  
  
ANDREW  
Boyfriendfriends?  
  
ZELDA  
Best friends forever.  
  
ANDREW  
I liked mine better.  
  
ZELDA  
You're not getting my point.  
  
ANDREW  
I am. But you know what they say...  
you don't know what you got till it's  
gone. Logan's not a bad guy.  
  
ZELDA  
You don't know jack-shit about him.  
  
ANDREW  
I've known him since we were both in  
diapers!  
  
ZELDA  
You don't UNDERSTAND, do you?  
  
Andrew looks at her, hurt and confused.  
  
ZELDA  
(harshly)  
Samara's doing the world a favour.  
  
She walks away, leaving Andrew in the cold emptiness of the corridor. 


	6. Day 6: Swallowing the Night

INT. LOGAN'S BATHROOM - THE NEXT MORNING  
  
Filled with steam. Logan wraps a towel around his waist, fresh from the shower. He turns to the foggy mirror and rubs his wet hand on it furiously.   
  
Caption: "TUESDAY: Day Six"  
  
He rubs and rubs, water dripping down from his damp hair and onto his face. Logan stops, and takes a step back.   
  
CLOSE UP: The mirror. Logan has made a perfect circle on the fogged up mirror.   
  
He stares at his partially obscured reflection, warily and wearily.  
  
CUT TO  
  
INT. CLASSROOM - HOURS LATER  
  
Filled with bored students and an equally bored teacher, Mr. Beach.   
  
MR. BEACH  
Ok class, how do you want this done?  
Anyone wanna volunteer? Or shall I  
draw names from a hat?  
  
Several pairs of eyes immediately disengage contact from Mr. Beach's. LOGAN is sitting in the rear of the room, staring down at his desk, which we see is blanketed in hundreds of little "ring" doodles, as well as a couple of articulately drawn horses.  
  
MR. BEACH (O.S.)  
Ah, Mr. Redfield.   
  
Logan looks up, annoyed.  
  
TIME CUT: A few moments later, Logan's at the front of the class, holding a paper in front of him. He speaks with a terrible monotone. Mr. Beach is standing at the far end of the room, taking notes.  
  
LOGAN  
Today I'll be speaking with you all  
about the symbolism in Lord of the Flies.  
  
Logan boredly gestures to an exquisite, detailed drawing of a boat-shaped island he's drawn on the blackboard.  
  
LOGAN  
This represents a microcosm of the  
world, its boat shape being an ancient  
symbol of civiliza-  
  
MR. BEACH  
Mr. Redfield, I clearly specificed that  
any board drawings must be made with  
labels.   
  
Cursing at Mr. Beach under his breath, he turns and starts writing beside the island drawing. We don't see what he's writing.   
  
LOGAN (cont'd)  
Because the boys are cut off from the  
rest of the world, the island becomes  
their own planet.   
  
ON VARIOUS STUDENTS as they make odd faces at what Logan's doing.  
  
LOGAN (cont'd)  
And therefore, representative of our  
own world. Castle Rock, a formation  
of rocks located at the end of the  
island is symbolic of-  
  
Mr. Beach stands suddenly amidst the rukus of the students.  
  
MR. BEACH  
(infuriated)  
Mr. Redfield! What's the meaning  
of this?  
  
LOGAN  
What?  
  
Mr. Beach makes an exasperated motion to what Logan has written. Confused, Logan turns back to the board. His eyes widen in shock.  
  
ANGLE: The blackboard. Next to the boat-shaped island, are the words...  
  
"everyone   
will  
suffer"  
  
They're written in a sloppy, childish manner, and it doesn't look like Logan's at all. They're also written in red chalk, whereas Logan's writing with a white one.  
  
He turns to face the class, as horrified as they are. Logan's nose starts to bleed.  
  
CUT TO  
  
EXT. REVERE HIGH - SAME - QUAD  
  
A shady little area under some trees. There's a couple of pay telephones, one of which is being occupied by Andrew.   
  
ANDREW  
Is this Rachel Keller?  
  
CUT TO: The offices of the Seattle P.I., at Rachel's desk. She's on the phone, shovelling yogurt into her mouth. The conversation cuts between the two frequently.   
  
RACHEL  
(mouthful)  
Who wants to know?  
  
ANDREW  
My name is Andrew Dark.   
  
Rachel freezes.  
  
ANDREW  
I've tried to contact you many  
times before-  
  
RACHEL  
(quickly)  
Stay away from me and my son.  
  
She starts to hang up.  
  
ANDREW  
My best friend is going to die!  
  
Beat. Rachel hangs on, setting her yogurt cup down. She takes a quick look around her and speaks quietly into the phone.  
  
RACHEL  
What do you want?  
  
ANDREW  
I want to know why you didn't  
tell me. When we were at Blockbuster.  
I know you didn't want your son to  
die, I completely understand. But  
why didn't you tell me I could've  
copied the tape and shown it to  
someone else?  
  
RACHEL  
Look, I've got a barrel of work  
to do-  
  
ANDREW  
(softly)  
I just want an explanation. I won't  
bother you anymore after.   
  
Rachel sits back in her chair, letting out a long sigh.  
  
RACHEL  
The day that I had my son copy   
the tape, Eola County Psychiatric  
shut down. A large number of the  
employees were... seeing the girl.  
In their minds. It was making some  
of them go insane.  
  
Andrew listens very intently, not aware that there are couple of students making obscene hand gestures at him behind his back.  
  
RACHEL  
So they shut the place down, and  
moved the patients to some other  
place temporarily. The police were   
saying it was some virus.  
  
ANDREW  
And what did this have to do with  
you trying to kill me?  
  
RACHEL  
I WASN'T trying to-  
(lets it go)  
I knew that Samara was acting up.  
Ever since I found her in the well...  
  
ANDREW  
...what?  
  
RACHEL  
(shifting in her seat)  
I think that, because I freed Samara  
from that well, she's become stronger.  
(beat)  
My son keeps saying that Samara  
needs one more thing, and she'll  
be free...  
  
She nearly laughs at herself, but stops short.  
  
RACHEL  
I figured that... if I gave the tape to  
you... without telling you the cure...  
the curse would stop. Samara would  
cease to exist.  
  
A familiar cold chill runs down Andrew's spine.  
  
ANDREW  
But... my friend. I want to stop this  
as much as the next guy, but I'm  
not gonna let someone I care about  
be claimed by this.  
  
RACHEL  
Show someone else the tape, Andrew,  
it's not rocket science.  
  
ANDREW  
He destroyed it.   
  
Rachel pauses. We can't really tell if she's pleased or concerned.  
  
RACHEL  
Well... I guess I really don't have much  
to offer... except... good luck.   
  
That's really not what Andrew wanted to hear. He gives a silent "Thanks" and hangs up. Rachel, on her end, hangs up as well. She runs her hands through her hair.   
CUT TO  
  
INT. FRONT ENTRANCE - REVERE HIGH - LATER  
  
It's the end of the schoolday. Zelda walks quickly towards the exit, when CRYSTAL, the chirpily annoying Weekly Informer editor catches up with her.  
  
CRYSTAL  
Hey! Zora!  
  
ZELDA  
Zelda.  
  
CRYSTAL  
Yeah, sure. You hang out with  
Andrew Dark a lot, don't you?  
I need you to tell him something.  
  
ZELDA  
No 'ffense, chicky, but you're  
really not his type.  
  
CRYSTAL  
No. Tell him he's fired from the Weekly  
Informer.  
  
Zelda stares at her blankly.  
  
ZELDA  
He's what?  
  
CRYSTAL  
Fired. Axed. Let go. Shown the door-  
  
ZELDA  
I get the fucking point! But why?  
  
CRYSTAL  
His article, which he was supposed  
to hand in last week, hasn't been  
handed in this week. And you know  
our school motto, "Get in on time  
or get your ass on a dime."  
  
ZELDA  
(confused)  
That's not our school motto.  
  
Crystal shrugs at her and walks away, leaving Zelda miffed.  
  
FADE TO  
  
EXT. PARK - DUSK   
  
A lush forest-filled park area with a large playground. The sky is dusted with heavy clouds, emitting lashing rain. LOGAN is sitting on a park bench, despondent, allowing himself to get soaked. He stares down at his hands.   
  
Long, long, long beat. Somebody sits down next to him. It's Andrew. Nobody says anything for a while.  
  
ANDREW  
Zelda just told me that I was fired  
from the Weekly Informer.  
  
He smiles, despite his disappointment.  
  
ANDREW  
The upside being, I can now join  
you guys in calling it to the Weekly  
Douchebag.  
  
Logan doesn't react.   
  
LOGAN  
(almost to himself)  
She says it wont stop.   
  
Andrew wipes some of the rain water off his face.  
  
ANDREW  
Who?  
  
LOGAN  
You know who.   
  
Logan's eyes never move from his hands.  
  
LOGAN  
But it can. With me.   
  
He finally looks up at Andrew, but only for a split second.  
  
LOGAN  
If we let it.   
  
ANDREW  
Stop me if I sound like a broken record,  
but we ARE gonna find a way to save you.   
I promise.  
  
LOGAN  
Don't promise. It's not happening.  
  
ANDREW  
Nice optimism you got going there.   
  
LOGAN  
You don't understand anything, Andrew.  
(beat)  
This is what I deserve.   
  
FLASHCUT: A finger being pierced by a nail.  
  
ANDREW  
(appalled)  
How can you say that?   
  
Their eyes meet again. Andrew can't tell from all the rain, but Logan's crying.   
  
Andrew reaches out to his friend, and awkwardly pats him on the shoulder; trying to comfort Logan. He lets Andrew try.  
  
Beat.  
  
The two of them side side-by-side, waiting to be swallowed by the night. 


	7. Day 7 part one: Parting Sorrows

OVER BLACK  
  
Caption: "WEDNESDAY: Day Seven"  
  
FADE IN  
  
EXT. ROAD - LEADING TOWARDS THE DOCKS - EARLY MORNING  
  
Typical looking rainslicked road. In the not-too-far-distance is the docks, a ferry, and further out, the atlantic ocean. ZELDA'S CONVERTIBLE is moving along.  
  
ANDREW (V.O.)  
You guys know what you have to do.  
Just get it done before 1:15 pm...  
that's when you saw the tape, right  
Logan?  
(beat)  
Samara's trying to scare us away,  
but we wont let her get to us.   
  
ZELDA (V.O.)  
Something tells me you're gonna be  
eating those words.  
  
ANDREW (V.O.)  
I'm trying to be serious, here.  
  
ZELDA (V.O.)  
Sorry.   
  
Beat.  
  
ANDREW (V.O.)  
Logan's not the only person we're  
trying to save. Samara's suffering,  
too. And we have to let her know  
that we want to help.   
  
FADE TO  
  
The convertible has now pulled up to the loading docks, and several dozen passengers are getting onto a FERRY. Andrew, Zelda, and Logan lean by the car, looking up at the huge boat. [I know that ferries and boats aren't the same thing]  
  
ZELDA  
I'm not gonna lie, here. I'm getting  
pretty antsy.  
  
ANDREW  
Sexual-antsy or nervous-antsy?  
  
She stares at him.  
  
ANDREW  
I... haven't got much sleep.   
  
ZELDA  
(tense)  
I think I'm gonna chicken out.   
I'm gonna chicken out!  
  
ANDREW  
No, you're not. Zelda, don't.  
  
ZELDA  
I am! Hear the shrill edge of hysteria   
in my voice!  
  
ANDREW  
Logan, will you talk to her?  
  
LOGAN  
I'm really trying to save *my* voice for  
all the screaming I'm probably gonna  
do before I die.  
  
ANDREW  
Guys! Stop with the grim, okay?  
  
He digs out a map and hands it to them.  
  
ANDREW  
I put little smiley-faces around the  
location we're in and little stars around  
the Morgan Ranch.  
  
They both stare at him.   
  
ANDREW  
And -- my cell number's on the back.   
  
ZELDA  
Thanks.  
  
LOGAN  
Yeah.  
  
Zelda and Logan start walking towards the docks. Unable to see them leave, Andrew suddenly calls out --  
  
ANDREW  
Guys?  
  
They both turn around simutaneously.  
  
ANDREW  
Be careful.   
  
They turn around again and keep walking. Andrew really contain himself--  
  
ANDREW  
Guys!  
  
ZELDA/LOGAN  
(annoyed)  
What?  
  
Andrew runs to them and consumes them both in a crushing bear hug. They're shocked at first, but eventually they wrap their free arms around him too.  
  
Several moments.  
  
LOGAN  
(choked)  
Okay, Andrew, oxygen's becoming  
an issue.  
  
Zelda makes a mufffled sound of agreement.  
  
CUT TO  
  
INT. FERRY - EXT. DECK - LATER  
  
LOGAN stands at the rear of the ferry, looking down at the churning water spewing out below. He looks back up and watches the mainland get smaller and smaller.   
  
ZELDA is standing off to the side, flipping through a sketchbook. She's impressed.  
  
ZELDA  
Did you really draw all these?  
  
Logan looks at her, confused, then at his backpack, which has been opened. He ips it back up, slightly annoyed.  
  
LOGAN  
Yeah.   
  
ZELDA  
They're pretty good.   
  
CLOSE UP: Zelda's looking at an abstract drawing of a gate, surrounded by bloody red images and flying objects.  
  
ZELDA  
What's this supposed to be?  
  
LOGAN  
It's open to interpetation.  
  
He leans on the railing next to her. She keeps going through the sketchbook.  
  
ZELDA  
You never told me you liked to draw.  
  
LOGAN  
The subject never really came up  
amidst all the... making out.  
  
She smiles a tiny bit.  
  
ZELDA  
That's all it really was, huh?  
  
LOGAN  
(shrugging)  
Neither of us wanted it to be anything  
more.  
  
ZELDA  
Does that make us slutty?  
  
LOGAN  
Slutty and trashy, madame.  
  
Zelda smiles a bit wider this time. Logan tries to match it, but his heart isn't in it. CLOSE UP - the sketch book. Zelda stops at a charcoal sketch of Samara's infamous well and the surrounding forest.  
  
EXT. ROAD - A LITTLE LATER  
  
Surrounded by thick forest, Zelda's convertible moving through the twisting roads.   
  
INT. ZELDA'S CONVERTIBLE - MOVING SHOT - SAME  
  
Andrew drives, his eyes trained onto the road in front of him. Something's really bothering him.   
  
Slowly, but surely, he comes to a stop at the side of the empty road. Andrew turns the radio off, and then the engine. The last vestige of his resolve crumbles down.  
  
Andrew puts his forehead against the driving wheel and begins to cry. 


End file.
